Arts & Entertainment

TUESDAY, DECEMBER 6 2022

arts@mcgilltribune.com | ARTS & ENTERTAINMENT 17 “There’s Nothing More Queer than Nature”: A Q&A with Ann-Marie MacDonald

Big books, compulsive categorization, and MacDonald’s new novel, ‘Fayne’

Chloe Sproule

Contributor

Spoilers ahead for ‘Fayne’

Award-winning playwright, novelist, actress, and broadcaster Ann-Marie MacDonald has written her “youngest and most joyful” novel to date. Fayne is set in 19th-century Britain and yet entirely modern in feel. The book is a sprawling, ornately detailed, and genre-defying epic that follows the precocious Charlotte Bell as she grows up on a vast, secluded estate on the borderland moors. Her doting father’s will to keep her isolated from society, owing to her mysterious ‘condition,’ wars with her insatiable curiosity.

The McGill Tribune had the chance to speak with MacDonald about her new novel. A condensed version of our conversation follows:

CS: Fayne is an

unapologetically long book [736 pages]. What is the magic of a long book for you?

AMM: Well, I prefer the term big. And I love this saying that’s going around: ‘I love big books and I cannot lie’ [....] So with regard to writing a big book, I write the kind of thing that I love, and I know that readers love to get immersed in a long story.

CS: It’s a defiant choice in a media scene that’s dominated by small bites. Do you think we still have the attention span for them?

AMM: This idea that younger people don’t have an attention span, I think it’s ridiculous. I don’t buy it [....] Yes, we can bemoan the kind of attention that’s being fractured and starved and yet lured over and over again in an addictive framework, but it isn’t new [....] It seems like every decade or so, someone announces the death of the book. It’s never true [....] People love stories.

CS: Fayne is full of

characters that are both familiar and not. Can you explain the choice to employ ‘tropes’? What do they help you to achieve?

AMM: For me, as a writer, I go: Oh! Here’s my toy box full of literary devices, what could be more fun? It’s the absolute delicious delight of the Victorian novel, that’s what sustains me. And there’s that familiarity, which is so inviting [...] and then within that I can introduce all kinds of unnerving and unfamiliar things [....] There’s nothing like a period piece to tell a very contemporary story.

CS: You manage a very faithful rendering of Charlotte’s intersex identity and avoid exoticizing it. What was it like to write from her perspective?

AMM: The late Victorian time is one of extreme categorization, not unlike our own world where divisions among beliefs and identities are becoming so narrow. So it was crucial to say that Charlotte is normal, it’s the world that has a problem [....] I do immersive research and the history of women and gender and bodily non-conforming people in the medical gaze is something that’s very, very important to me. But the spark comes from within me as knowing from a very young age that I was wrong in the world. And the idea of looking through the eyes of somebody who’s born with an intersex trait has been quite compelling to me for a very long time [....] It’s not an exotic quality. That’s why I’ve decided not to treat it as a “spoiler”. That’s just who she is, that’s her body. That’s normal. It’s the world that has a problem and is going to make it a problem for her.

CS: Threaded throughout

Fayne are these symbols

of ambiguity. Why was it important to engage in the marginal and nameless?

AMM: Because there’s nothing more queer than nature. Nature

Venturing deep into “the bowels of the stacks” of McGill’s Osler Library, Ms. MacDonald conducted extensive research on 19th century asylums, surgical procedures, and instrument catalogues for her new novel. (annmariemadconald.com) flourishes at the margins, it favours blurred lines [....] It is wonderful to put names to the world, but if the goal of naming is just to catch things, pin them, and stick a name on them, then you’re killing everything you’re naming. Ann-Marie MacDonald is first and foremost an entertainer and her loyalties lie with her readers. In her own words: “I just wrote a big book. If you start reading it, you might wanna get lost in the journey.” Fayne is available in bookstores in print and in audio-book form, read by the author. Biblioasis Fall 2022 highlights: ‘Ordinary Wonder Tales’ and ‘This Time, That Place’ Canadian publishing company spotlights essays of wonder and growth

Ella Buckingham & Adrienne Roy

Staff Writer & Contributor

Since 2004, the Canadian publishing company Biblioasis has remained committed to publishing intimate and creative works of fiction, non-fiction, and poetry from authors across the world. As the fall semester comes to a close and students finally get the opportunity to read and decompress during winter break, The McGill Tribune highlights two of Biblioasis’ best offerings released this year.

Ordinary Wonder Tales by Emily Urquhart - Ella Buckingham

In this essay collection, Emily Urquhart draws from her experience as a folklore scholar to relate historical “wonder tales,” as she calls them, to experiences in her own life. Pulling from legends ranging in origin from Japanese to Irish, this collection is engaging, innovative, and thoughtful. Characters appearing throughout these folktales such as the Amabie, a half-fish, halfduck Japanese prophetess, are described in vivid detail. The Amabie warned the village people to whom it appeared that a plague would occur unless her image was spread amongst the people.

Urquhart then applies these folktales to situations of our time, demonstrating how adaptable and powerful these stories are to contemporary life. In “The Plague Tales,” she explains how during the pandemic, her family and children sketched out the Amabie and placed it on the front door as a protective talisman. She also explores how ancient motifs can resonate in present-day stories. In “Years Thought Days,” she compares her father’s battle with dementia to a genre of folktale with the same name that references the supernatural flow of time occurring when a mortal visits the underworld.

At points, discord emerges between the stories’ lyrical quality and the crash course on the technical side of folklore scattered throughout. This can distract readers from the calming lull of the tales. However, the end result is a literal blending of fact and fiction that informs readers about the complexity of storytelling while also satisfying their imaginations. In Urquhart’s collection, she dispels the notion that fairy tales are irrelevant in this fast-paced, modern environment, and recreates the magic of childhood in day-to-day life.

This Time, That Place by Clark Blaise - Adrienne Roy

Peeling off layers and simultaneously figuring out which ones to put back on epitomizes the never-ending process of growing up. Clark Blaise’s latest memoir This Time, That Place, a compilation of 24 essays spanning 40 years, is a bittersweet work that authentically captures this transformation.

The structure of This Time, That Place gifts the reader with more agency than a typical autobiography. By first illustrating his nomadic childhood, Blaise contextualizes the disjointedness he feels in adulthood without explicitly addressing it, allowing the reader to draw their own conclusions. While the stories are uniquely his, he expresses his growing pains in a universal way. The reader feels they’ve known someone like his uncle Étienne: Once the mayor of a war-torn town in France, he immigrated to the United States and opened a French restaurant in Gainesville, Florida. Perhaps they aspire to be like his wife Bharati Mukherjee, who balances her writing and teaching career, including a stint at McGillwhile navigating two worlds as an Indian immigrant to North America.

Based in Windsor, Ontario, Biblioasis began as a bookstore in 1998 and expanded into publishing in 2004. (bordercityliving.com) The readers don’t feel as though they’re merely a fly on the wall: They’re sitting in the back of a stolen car in the middle of the night, inheriting a new identity as they watch a past life fade in the rearview.

Margaret Atwood writes a graceful foreword to This Time, That Place and emphasizes Blaise’s underappreciated and lasting impact on Canadian literature. When other Canadian authors looked to publish abroad, exchanging their Canadian identity for the opportunity of a larger audience, Blaise did the opposite, dedicating his time to the Montreal Story Tellers rather than publishing in the New Yorker. In outlining his devotion, the reader trusts Blaise from the first page. Though sublimely written, This Time, That Place stands out because of that early connection with the reader and Blaise’s vulnerability. His dedication to poignant storytelling instead of commercial success fosters an unparalleled reading experience, and ensures that This Time, That Place finds its audience only for the right reasons.

Best of: Albums

Mitski, Laurel Hell – Ella Buckingham, Staff Writer

Japanese-American singer-songwriter Mitski’s sixth studio album, Laurel Hell, comes off the back of her three-year hiatus and is an artful collection of head-bopping pop numbers and slow, narrative ballads. Though veering more toward the mainstream than her previous albums, throughout this record, Mitski tackles her discomfort with her role as an indie-rock icon and the hardships of staying true to oneself in the music industry. Despite critiques that Mitski has become a “mainstream sellout” with her turn to conventional sounds such as bright 80s pop beats, Laurel Hell manages to wow with tracks such as “Heat Lightning” and still impresses self-proclaimed cool kids everywhere.

Kendrick Lamar, Mr. Morale & the Big Steppers - Yash Zodgekar, Staff Writer

Kendrick Lamar’s latest release finds him at his most confessional, reflecting on themes like fatherhood, sexual addiction, and celebrity worship through the lens of his experiences in therapy. The result is a record of great emotional poignance, once again demonstrating Lamar’s remarkable poetic skill. Sonically, the 18 tracks presented are remarkably diverse, melding jazz samples, trap beats, and orchestral arrangements, sounding like no one else in the process. Mr. Morale & the Big Steppers is an essential record for any hip-hop fan this year.

Harry Styles, Harry’s House - Dana Prather, Staff Writer

The May release of Harry Styles’ Harry’s House kicked off a summer of supreme new music, taking listeners on a leisurely stroll through the pop star’s daydreams and reflections on love. Standout track “Late Night Talking” infuses its 80s-inspired beat with the singer’s characteristic charm, while the woefullyneglected B-side, “Satellite,” supplies some of the album’s best sonic moments. While the lyrics can leave something to be desired (looking at you, “Cinema”), the former One Direction star’s much-anticipated third solo album provided enough blissful beats to keep us moving and grooving all year long.

Beyoncé, Renaissance - Suzanna Graham, Staff Writer

Queen Bey reaffirmed her reign on the music industry with her chart-topping seventh studio album Renaissance. The album revives a disco era, encouraging uninhibited sweaty dance party vibes that the Bey-hive was missing during the height of the pandemic. Beyoncé strives for the future, especially in “Alien Superstar,” a utopian track that mixes poetry and singing while oozing confidence. Beyoncé’s bops are better than ever with her raspy vocals, club beats, and self-love lyrics.

Best of: Films

Everything Everywhere All at Once - Dana Prather

Both a fan-favourite and critical darling, A24’s Everything Everywhere All At Once is a rare piece of media that everyone seems to agree on: This film is a messy, mind-bending masterpiece. Written and directed by Daniel Kwan and Daniel Scheinert (collectively, ‘Daniels’), the film blends sci-fi, action, comedy, and domestic drama to offer a fresh take on the multiverse concept. In a career-best performance, Michelle Yeoh portrays an immigrant mother attempting to do her family business’ taxes while battling bizarre, otherworldly enemies. Everything Everywhere All At Once will make you laugh, cry, and philosophize––sometimes all at once––for its entire 140-minute runtime. Marcel (Jenny Slate), an anthropomorphic one-inch-tall shell. When filmmaker Dean discovers Marcel, who has innocuously been looking after his grandmother in an empty Airbnb, he becomes an internet sensation and must confront the wonders and woes of the vast outer world. Presented in a mockumentary format that deftly combines animation and live action, the film is characterized by its whimsicality and tenderness, conveying much about the human condition from the unique outsider perspective of its premise.

(npr.org)

Triangle of Sadness - Suzanna Graham

Ruben Östlund’s film Triangle of Sadness, Cannes’s 2022 Palme d’Or winner, could have been rightfully named The White Floatus. Sigh in frustration at the ultimate will-they-won’tthey (break up) influencer couple Carl (Harris Dickinson) and Yaya (Charlbi Dean), who would rather continuously bicker about who paid on a previous date than enjoy their free tropical vacation. Of course, with the perpetually drunk Captain Thomas (Woody Harrelson) at the helm—who always slays in his chaotic roles—it’s no surprise that the cruise gets derailed. So sit back, relax, and get ready to use your promotional barf bag.

Top Gun: Maverick - Charlotte Hayes, Staff Writer

Tom Cruise is back, reprising one of his most iconic roles in this summer’s Top Gun: Maverick. Set 30 years after the original film, the film follows Maverick as he is called back to his alma mater to train a whole new generation of elite fighter pilots. Although returning cast members Cruise and Val Kilmer give commendable performances, the next class of Top Gun pilots, including Glen Powell, Monica Barbaro, and Miles Teller, outshine them in their breakthrough performances. With action-packed training montages, motorcycle rides, and musical callbacks (shout out to Kenny Loggins), the movie walks the line perfectly between nostalgia and a new era.

Best of: TV Shows

The White Lotus (Season 2) - Charlotte Hayes

Bodies are in the water and the White Lotus has opened its doors again—but this time in Sicily! The HBO critical darling is back for its second season with an almost brand-new cast (except for Emmy winner and pop culture icon Jennifer Coolidge) and a gorgeous new locale. Once again, creator Mike White wrote a season with the same electric energy as reality TV while simultaneously delivering some of the most interesting class commentary currently on television. The White Lotus delivers an edgier take on the format we came to know and love last season.

The Bear - Ella Buckingham

In a lead role that is casting Shameless’ Jeremy Allen White to new celebrity heights, the dramedy The Bear revolves around a young chef (White) who, in the wake of his brother’s death, leaves the coveted world of fine dining to rescue his family’s Italian beef sandwich shop. Raw, sarcastic, and nail-biting at moments, this series takes an unabashed look at the reality of the restaurant business and the struggle to stay afloat—both financially and emotionally—amidst the devastation of loss.

Stranger Things (Season 4) - Yash Zodgekar

Stranger Things’ fourth season elevates the show to another scale, boasting gorgeous special effects, feature-length episodes, and settings from California to Russia. What makes this season the best yet are the human relationships at its centre. Showrunners the Duffer Brothers also use Vecna, a new villain with a more complex and nuanced backstory than those of previous seasons, as a means to delve deeper into the nuances of their young protagonists, exploring more mature themes as they enter high school. Season five cannot come soon enough!

Wednesday - Suzanna Graham

Funny, fierce, and a little freaky, Wednesday puts a new spin on the whimsical Addams Family, in which the titular daughter, Wednesday (Jenna Ortega), joins Nevermore Academy to hopefully fit in with her fellow outcasts. The show subverts the expected family-oriented plot, allowing Ortega to shine as a surprisingly complex angsty teen who somehow smiles more than she blinks. With plot lines involving American witch-trial lore and bug-eyed serial killing monsters, Wednesday is Netflix’s newest binge-able hit. And for enjoyers of the iconic movie Addams Family Values, make sure to catch Christina Ricci’s whimsical cameo as Mrs. Thornhill.

Worst of: Albums

Machine Gun Kelly, mainstream sellout - Ella Buckingham

The McGill Tribune’s Worst Album of 2022 by a whopping 32 per cent vote (oof), this 16-track album by Machine Gun Kelly was unfortunately released 20 years too late. Heavily inspired by early 2000s pop-punk beats and tackling all subjects from sex to drugs to war, this collection is reminiscent of a pissedoff Avril Lavigne, but in a disingenuous, lacklustre way (his track “emo girl (feat. WILLOW)” and “Sk8er Boi” are just a touch too similar). If you’re looking for mindless cliched bangers, however, or want to time-travel back to the release of Mean Girls, then this album fulfills that role scrumptiously.

Worst of: Films

Don’t Worry Darling - Charlotte Hayes

Don’t Worry Darling was one of 2022’s most highly anticipated films but somehow also its biggest flop. With a star-studded cast, high-concept script, and broad anticipation for Olivia Wilde’s sophomore directorial effort, it felt like a surefire recipe for success. Instead, the film delivered some half-baked insights on secondwave feminism packaged in a blatant ripoff of the Stepford Wives. The most interesting thing about this movie was its absolutely chaotic press junket, but even the endless tabloid fodder couldn’t save this trainwreck.

Worst of: TV Shows

Dahmer - Dana Prather

In an age where true crime documentaries, movies, and podcasts have gained rapid but questionable popularity, it’s no surprise that Dahmer - Monster: The Jeffrey Dahmer Story has been a commercial success with mixed critical reception. Indeed, the Netflix limited series, which presents a dramatic retelling of the life and crimes of the infamous serial killer, garnered an astounding 192.6 million watches in its first week alone. Still, it’s important to recognize the very real danger posed by shows like Dahmer: They romanticize abhorrent criminals and retraumatize the families and friends of real-life victims.