The Edmonton Launch of “Sistering”

audreyspic

This is not what’s usually meant by books going viral

After spending the summer terrified, plunking through oral presentations spoken all in Chinese, this fall’s chance to appear in public, speaking to people about my novel in my native language seemed like a breeze.

Easy!

But there’s precious little in life that turns out to be easy. The week of my book launch, I came down with a cold. Grownups muscle through colds all the time. It’s not heroic or dangerous. However, my family, the MacKenzie family, has a talent for coughs and colds. We cough until we gag. We cough so loudly little children cover their ears. We cough until the blood vessels around our eyes break, giving us a scary petechiae–a rash of red-brown flecks on our skin. In the late 19th century, one of our great-great-grandmothers lost nine of her eleven young children to influenza. I’m not convinced there’s any such thing as a man-cold but I do believe in the Mac-cold: the MacKenzie cold.

So I turned up at my book launch at Audreys Books in Edmonton with a Mac-cold. I arrived still embarrassed about having to leave a lecture earlier that afternoon to go hack in the privacy of a stairwell. All the hopes I had for the event had been reduced to one simple goal. I wanted to make it through the reading without a spectacular, face-bleeding coughing spasm. All that mattered was breath.

I took my medicine, prayed, took comfort in the goodwill of the family, friends, and colleagues who came, and accomplished my reading in a low, smoky but cough-free voice.

Then I came home and crashed, just like the computers at the store.

From the fog of medication and illness, I missed a few event details that would have been nice. I couldn’t taste any of the cake my sister made for the guests. I also failed to set up any proper photos and am left with phone-shots to document the night.

That’s okay. Someone with a Mac-cold is best seen through a fuzzy screen at a far distance anyway. And the more adversity, the more thankful I am to be in the position to be headlining the launch of my own book, for the second time, in a venerable space, surrounded by people who wish me well.

Thank you, from the bottom of my lungs.

A National “Must-Read Books of the Season” List Featuring Our Own “Sistering”

Oh, how I love the Canadian Broadcasting Corporation, especially when it does stuff like this. The CBC has a healthy, powerful books department in a world thin on books departments. They just made a “Fall 2015 Reading List” suggesting fifteen “must-read books of the season.” They’ve included new fiction from international writers like Salman Rushdie and Franzen, Canadian names like Lawrence Hill and Marina Endicott — oh yeah, and my latest novel.

Wha?! I mean, “Yay, for Sistering!” See the list here.

Great way to end a day of spit-washing spaghetti sauce off people’s faces.

“Sistering” in the Edmonton Journal

Me in my local. Click the link to read the online version.

Me in my local. Click the link to read the online version.

The Edmonton Journal, my local daily newspaper with its robust books section, ran a feature on me and Sistering this week.

Michael Hingston (fellow Can-lit humour novelist) interviewed me and wrote the piece, and a nice photographer named Bruce met me outside the University of Alberta Humanities Centre, stood me up against a tree and shot pictures of me. I’ve never heard someone say, “You look like you’re pissed off at me” so pleasantly. I wasn’t, of course. I always hate pictures of myself, but at least my hair was full-throttle Smurfette that day.

They also posted a notice of my upcoming book event in Edmonton. We’ll be at Audreys Books on Sept. 29 at 7pm.

Here’s the link to the easy-to-read online version: Sistering in the Edmonton Journal

Angie Abdou Reviews “Sistering” on the CBC

datbreakWe were pleased to hear Angie Abdou reviewing Sistering on CBC Radio’s Daybreak Alberta programme. Here she is talking to host, Chris dela Torre, about my new novel. My favourite line? “Jennifer Quist makes you believe it.” Thinking of having a t-shirt made…

Here’s the link to listen to the 6 minute bit: Sistering on the CBC

Sistering is Published Today, or, Enough With the Eerie Coincidences Already

Summer 2013, my first novel is published. It’s a family saga about death and dying. The week it’s released, a close family member is diagnosed with a life-changing, life-expectancy altering illness.

marfire

Oliver, BC fire, 2015

Summer 2015–today, to be exact–my second novel is published. It’s another family story–a dark-hearted comedy instead of a light-hearted tragedy. It’s about sisters and fire and love and stuff. So, naturally, right in time for publication week, the mountain town where my sister Mary lives catches fire.

Ya can’t make this stuff up.

Upon waking on the morning of the unveiling of a five year project my future and my identity as an artist are inextricably linked to, my first thought wasn’t “book.” It was “Mary.”

The last images she left on Facebook last night included the one above. But while we slept, the lightning stopped, the rain started, the firefighters fought. This morning, my sister and her family (plus a second sister who just happened to be visiting this week, posting fire-photos on Instagram that ended up on the Global News website) have all reported in safely from their undamaged home.

I am relieved, finally ready to celebrate, and resolved that my next novel will be a tableau of fluffy bunnies nibbling wildflowers in peaceful meadows.

Oh yeah, and if you’d like to read my “wonderfully bizarre and surprisingly recognizable” book click the “Finding the Book” tab above.

Picture Book, Part I

It’s been observed in reviews of my work that the imagery I use isn’t the typical sort of literary imagery, rooted in visual experience–things that can be seen. Instead, it’s based on other senses (especially smell), simple minute experiences, and cultural allusions. I was surprised to read this about myself but I have to agree with it.

Maybe I was surprised because, no matter how I wind up expressing myself in the end, I do have albums of pictures in my head that inspire my writing. I’ve kept track of some of them and I’ve been posting them every few days as a countdown to the release of my second novel this August 15. A friend called them “clues” and I suppose they do serve to create a bit of mystery. They also satisfy my little kids, who are very diplomatic about their disappointment that my books don’t come with pictures.

Whatever the pictures do, there are still fifteen days before Sistering is released and in the meantime, here’s a recap of what I’ve posted in the past 15 days–my picture book.

Back Stairs, by Heather Horton

Back Stairs, by Heather Horton

dolls

Vintage Paper Dolls

The Dionne Quintuplets (and the Premier of Ontario)

The Dionne Quintuplets (and the Premier of Ontario)

doorknob

Sunlight through an old glass doorknob

headstonecare

Light gravestone maintenance

Queen of the Mist

Queen of the Mist

Big Ole' Yellow Ring

Big Ole’ Yellow Ring

The Cremation of Percy Bysshe Shelley

The Cremation of Percy Bysshe Shelley, by Fournier

The Toast Spectrum

The Toast Spectrum

我 学 中文 or, How Learning Chinese is Changing My Mind

Our professor renamed each of us in Chinese. This is what he called me.

Our professor renamed each of us in Chinese. This is what he called me. It sounds like “Jenny.”

In three months my second novel, Sistering, will be released. The manuscript has been sent to layout. The cover has been finalized. For now, there’s nothing to do but wait. Authors can go a little mad at this point, second-guessing ourselves, worrying all past successes were just flukes. We could reread our unreleased novels to reassure ourselves they’re good, but if that reading raises any doubts, highlights any passages we wish we could have one more go at, it’s too late. Reassurance could turn to regret. So we leave books caught in Limbo untouched, willing ourselves to trust our editors, our publishers, the promise readers said they saw in us when they reviewed our previous novels.

It’s a funny space to inhabit—too far into the publishing process to look at the book, but too close to publication to look away.

A friend of mine quelled her latest bout of pre-publication nerves with a trip overseas. That’s not possible for me but I couldn’t just sit here and wait. I needed to diminish my obsession with my sophomore book with a new, completely unrelated obsession.

Yes, I get obsessed with things. Most of the time, I like that about myself. Without a propensity for obsession I might not have finished any novels or stayed infatuated with the same man for twenty-one years. Obsessions demand time, attention, and energy. They rob other things, including other incompatible obsessions.

And I’ve found a new one. My current obsession—my respite from fretful excitement over my next novel—is Mandarin Chinese.

What the heck, eh? I’ve been asked that a lot since I enrolled in a Chinese course at the University of Alberta this spring. It began with my interest in getting a Masters of English degree from a school that requires its candidates graduate with intermediate-level knowledge of a language other than English. I don’t believe in fate but I do believe our lives have purpose. At times, we act and at other times we are acted upon. I think I may have been acted upon by the university’s lean spring semester selections and the daily schedules of the schoolboys in my family. Chinese became my only viable course option. If I wanted to sound silly, I’d call it destiny. Whatever it is, I spent my Saturday afternoon sitting in a barber shop while the boys took turns getting their hair cut and showing me flashcards of Chinese characters.

Unlike other east Asian languages, Chinese has no alternate phonetic writing system. Often, casual beginners’ Chinese courses stick to Pinyin (Chinese written in romanized letters familiar to English speakers) and leave characters to native speakers and scholars. That’s not how it is at the U of A. Their course is an intensive, integrated, academic study of Chinese without any room for the mystique that can surround characters. In the words of my professor, “People have to get over it.”

As a storyteller, I’m finding I wouldn’t want to learn the language any other way. Chinese characters are fascinating. They’re also easier to draw and remember than they first appear. My fresh-brained genius days are long past but still, after one week of class, I drove home through Edmonton’s Chinatown reading snips of signage along 97 Street. It’s the road my husband’s office is on, one I’ve traveled countless times. I’d always traveled it illiterate but this time I was cackling with outright glee, alone in my car. “Honorable! That character is honorable! See the cowrie shell radical?”

Traces of the culture and history of the people who developed the language are folded within the characters. The word for “me” has a sword in it. Meaning is lost when characters are ignored. For instance, the words for “he” and “she” are pronounced the same, spelled the same in Pinyin, and can only be distinguished by seeing the characters. It’s an elegant, organic way to express historical social values.

Characters are words made concrete in a way I never experienced writing only in a phonetic language. At breakfast this morning, I read the French written on the side of a jam jar, and thought of how reading in Chinese isn’t much like what I’ve known as reading at all. Reading French or German or even Pinyin is a completely different intellectual and artistic experience than reading characters. Reading characters seems to activate a separate mental faculty—one I’m just discovering in myself. It’s startling, mind blowing in a way that’s almost literal. I am in awe that people—a billion people—can do this. And I’m stunned and a little betrayed that I never knew the world was like this until now.

All of this turns my mind and heart back to my new, unreleased book. And not just that, but everything that lies in the future for me and everyone else. If the world has room for something like Chinese writing—something so huge and pervasive yet hidden by my ignorance—that I didn’t truly notice until halfway through my life, there’s got to be much more in store for us than just the good things we’ve already discovered and enjoyed.

We have a tidy little English word for that sentiment: hope.

A Book Cover for “Sistering”

The cover for my upcoming novel, "Sistering," Aug 2015 from Linda Leith Publishing

The cover for my upcoming novel, “Sistering,” Aug 2015 from Linda Leith Publishing

I’m not usually fussy about design. There is photographic proof of it. When my in-laws-to-be generously organized decorations for my wedding reception while I was consumed with final exams at a university hundreds of kilometers away, they went for the crepe paper aesthetic—streamers and accordion bells. My in-laws are lovely but the crepe paper could only be horrible. I managed not ruin the day or our relationship over it (don’t worry, the person who did the shopping is dead and won’t be reading this). On my wedding day, I stood in crepe paper carnage, held onto the beautiful husband these nice people had made for me, and smiled for the pictures.

Those easygoing design sensibilities of mine become brittle when it comes to my own book covers. Stakes are high with book covers—not as high as at a wedding ceremony but definitely higher than at the crepe-paper reception afterwards. Book covers can tip the scales for readers choosing from a market full of good books. Covers usually convey something about plot—especially in genre fiction—but more importantly, they communicate tone and theme. They hint at the state of mind and heart readers can expect to inhabit. They make vague but real promises. They’re meant to elicit emotional connections. We’re supposed to have feelings about book covers—especially when we’ve authored the stories between them. For a second outing in an author’s career, getting a new cover is a little like getting a new face. And I loved my old face.

Like my first novel, the tone of the second novel is (wait for it) unusual. The structure and storyline are quite different from my first book but I hope my signature oddness (whatever it is, I’m too close to sense much of it) has endured. However, strangeness makes the book hard to characterize with a single illustration. My new book is grave but funny enough that a spooky cover wouldn’t be appropriate. The main characters are women but it’s got nothing like a chick-lit vibe so a cover full of flowers or lipsticks or purses doesn’t make any sense. It’s got elements of a warm, family story but images of sunlit kitchen windowsills would be bad fits too.

I set up my first ever Pinterest board and asked my sisters (blood sister and sisters-in-law, after twenty years with my in-laws, unless I’m looking for a kidney donor, it’s all the same) for cover suggestions and for their opinions on my ideas. But I asked them to do it blindfolded, knowing little more about the book than its title. I’m unreasonable that way.

A few days before the latest Linda Leith Publishing catalogue was finalized, Linda was kind enough to send me two designs being considered for my book cover. Nothing in our official agreement obligates my publisher to ask me anything about design. As is typical in the industry, the publisher buys the rights to produce the book however they see fit. This cover preview was a courtesy and one not every publisher extends. I am grateful for it. And that gratitude made me feel like a terrible person when I admitted I didn’t feel right about either of the designs. The kinds of images we were using—stairways—were the right kind. The concept was good and it was one I hadn’t been able to come up with myself. But I was being fussy about colour schemes and other fiddly details.

IMG_8009

Quit trying to cute it up, Cat

With the deadline for the catalogue looming, we all kept working. In desperation, I even recruited my sister Sara, a photographer, to take photos of the stairwell in her house in case we couldn’t find anything that worked. Her kitten didn’t make it easy, frolicking into the shot over and over again. “Hey, it’s not that kind of book,” I kept telling it. On my way home, I stopped at my sister Amy’s house to take photos of her stairs, as a backup plan for the backup plan.

In further desperation, I reached further into my wealth of sisters. While Sara and I were trying to light her stairwell, my sister-in-law, Stephanie, was picking through the Internet for me. Steph is a writer too—urban fantasy and romance with commercial appeal. She does most of her publishing independently and her best book covers are the ones she designs herself. She has a few favourite resources and on one of those, she unearthed the image of stairs our designer transformed into the book cover.

I love it. The blue-green tones are moody and a bit haunted without being gloomy or melodramatic. The architecture is pretty and visually interesting but not too fanciful or domestic. The title’s font—one of the LLP standbys that give the company’s books their unified look—blends well with the image. And best of all for my poor sophomore nerves, this cover has a comforting sisterly resemblance to my first novel’s cover—the novel that was well-received and not just a fluke, right?

When I posted the finished cover on social media, someone cool and smart said, “I’m picturing the Brady Bunch sisters lined up on those stairs. Except they’re all goth.” I didn’t know until I read it that this was exactly what I wanted to hear.

We Have a Release Date…

Novel release date, 15 Aug. 2015

We’ve got a release date for Sistering, my upcoming novel.

Yes, “release date” can mean many things, especially in a family like mine where one of us works in the criminal justice system.

What I mean by it is the book will be available in print and ebook formats from Linda Leith Publishing, online bookstores, and on the shelves of fine bookstores beginning August 15, 2015.

That is, as long as I get off the Internet and get the latest revisions resubmitted on time. Fighting!

Laugh Track at the Beauty School

This is not a picture of my four sisters and me; neither is my next novel.

I am one of five sisters. I was born first and in exchange for having the best memories of our parents when they were young and cool, I missed out on adventures my sisters had together after I swore off women for a life with my husband and sons. Different combinations of my sisters have traveled to Disneyland, New York City, Winnipeg, Amsterdam, the Northwest Territories, and the old gravel pit in Prince George all without me.

This year, for the first time, I made it to one of their “girls’ trips.” I met the three of my sisters who aren’t currently breastfeeding (see, someone’s always left out – it’s not personal) in Calgary to spend a weekend together.

I am terrible at ordering and it was over a bowl of thick green sauce at dinner that I taught the girls a new word: sistering. It’s like mothering only just between us. And then I warned them about my second novel. It’s about a group of five sisters.

No, it’s not about us.

If it’s not a tribute to our family why stretch the cast over five main characters? Well, because it’s not a stretch. There were five Spice Girls, five Go-Gos, five Miss Bennetts in Pride and Prejudice, and, of course, five Dionne quintuplets. My mind isn’t the only place where a group of five girls is the only size that makes sense.

It was impossible to write the book-sisters without invoking bits of my real sisters. I used some of our quirks and experiences as inspiration, like any writer would have done. To add to the tangle, our family is large. On my side alone there are seven siblings, seven spouses, one ex-spouse, and twenty-two nieces and nephews. It’s hard to create characters and situations that don’t overlap in some way with people I know very well simply because I know so many people so very well. When we’re primed to look, even general coincidences can seem like deliberate rip-offs. For instance, one of the sisters is the book is a nurse, just like Amy. One is divorced, like Sara. One is married to a man who’s adopted, like Mary’s husband. These elements aren’t uncommon inside or outside literature. Moreover, my book’s story wouldn’t work without them. And the story definitely wouldn’t work without the intimate understanding of sisterhood we sisters have given each other.

None of this is the same thing as writing a story about my sisters.

Still, I submitted to the girls teasing me about the book for the rest of the weekend. They let me have it, with that sharp sweetness of theirs and lots of laughter.

The next day Amy had planned girlie activities for us. We spent the morning shopping. That was easy. The afternoon was more difficult. The other girls wanted to go to a spa together. The only place that could book all four of us at the same time was not exactly a spa but a beauty school. I don’t want to use its real name so let’s just call it – oh, I don’t know – Carvel Mollege.

I’d had a facial only once before. It seemed like witchcraft – a superstitious ritual in smearing stuff on my face and wiping it off, a cycle of application and removal. The key to a successful facial is to end it immediately after finishing a thorough removal.

I was about to learn this.

If I’d been a more experienced exploiter of the pink ghetto that is esthetics, I would have realized how strangely my facial was unfolding and made some kind of protest. As it was I laid under a towel that smelled like someone else while a college girl let facial goops drip into my hairline, while she failed to rinse the cocktail of creams and toners and tonics off my skin.

At some arbitrarily determined point she said we were done. My skin felt tight and tacky as I stood up and looked for a mirror. There was only one in the room, mounted too high for me to see much of my face in it. All I could see was a dark, oily perimeter where my hair had soaked up the skin treatments.

Not a good sign.

The supervising instructor was waved out of a classroom to inspect my student’s work. “How do you feel?” she asked me.

“Pretty sticky.”

“From the moisturizer,” she finished for me.

I went downstairs, fingering the gummy surface of my face. In the lobby, my three little sisters were sitting in a love seat meant for two. They looked great. But when they saw me, they looked concerned – and amused. That’s when I knew for sure something wasn’t right. While the receptionist ran my card through the machine, I flexed my sticky face until it cracked. I stood in the lobby and peeled a sheet of – something – off my face.

Across the room, my sisters were cackling. “Why’d it have to be Jenny?”

Between my fingers I held a transparent mask of most of my face. It reminded me of a bored habit I had in grade four, pouring white glue into my hand and letting it dry before trying to peel it off in one piece. This glue mask was a good one. Every hair of my left eyebrow was perfectly visible.

I rolled the film into a ball between my fingers. “I’m not paying for this.”

My sisters kept laughing.

“I understand they’re just students,” I told the receptionist. “But look at my sisters: they’re not down here peeling their faces off.”

No one argued about refunding my money. Maybe they should have. My sisters and I had spun the barrel in a game of college student esthetician roulette and on our fourth shot, my shot, the game fired its inevitable concluding round.

We got in my minivan and drove away, off to a dinner where I would order another plate of food I wouldn’t like. Mary told me how radiant I looked. Amy lent me some makeup. And we never stopped laughing. That’s my sisters: the laugh track of my life, calming me down, cheering me up, convincing me this drama is much more fun than any amount of reason says it should be.

When my new book appears next year (please read it) don’t skip the dedication page. But just in case, let me reveal now how it will read:

For Amy, Sara, Mary, and Emily

All of whom inspired, none of whom is depicted in this book