This book was the first to go during this year’s Canada Reads 2022 debates. This memoir reveals a moving story of trauma that has afflicted generations of First Nation Canadians but it missed the mark in meeting this year’s debate theme.
Clayton is a First Nation Canadian who writes on the traumas he experienced growing up in Canada, his struggles with addiction, and how it all brought him into political activism in terms of the environment and how they are intertwined with First Nation’s rights and issues. Clayton dedicates a lot of time talking about how he met his wife, how she helped save him, and ultimately everything she had to put up with in terms of his activism and addictions.
While the topics and struggles in this book are important and immensely relevant to Canada and its politics this book required a heavier hand from the editor. The author’s story felt like a jumbled journal of his thoughts and views. The book itself could have been more focused and concise, it’s as if the author couldn’t decide if they wanted to write a memoir or political non-fiction and the merge of the two was not successful. The author’s story is moving and intense at times drawing attention to the shocking realities that many First Nation Canadians have to deal with. While it is not the best-written book I’ve read on this important topic, it was still an interesting read in terms of the author’s activism and how he got involved in it. I wish the author all the best on his continued healing journey and I am glad he shared his story.
“I have no physical symptoms, but psychologically there’s this burden. I’ve got to get rid of it somehow. Of course, when I first went back to work I was scared the same thing might happen again. It takes positive thinking to overcome fear, otherwise you’ll carry around this victim mentality forever.”
3/5 stars Paperback, 309 pages. Read from June 23, 2021 to July 7, 2021.
Ah yes, back to my favourite author though not in the way I expected. I’m nearing the end of my Murakami journey as I close in on reading everything this Japanese author currently has to offer.
Underground is a piece of non-fiction which Murakami isn’t generally known for, however, he felt compelled to write this book after Toyko was the centre of a terrorist attack in March 1995.
During the morning rush hour on March 20, 1995, the Tokyo subway was subject to a sarin gas attack. Sarin is a clear lethal chemical weapon gas that was invented by the Nazis. The attack killed 13 people and injured over 5000 people. An attack of this kind had never happened in Japan during peacetime and it shook the nation with the maliciousness of its attack. The government quickly went to work to determine the perpetrators of this terrible attack. The culprits were a cult by the name of Aum Shinrikyo, which means ‘supreme truth’. The cult itself started as a mere yoga and meditation course that wasn’t even a blip on anyone’s radar, however, it had amassed thousands of followers who believed in the doomsday prophecies of the group’s leader Shoko Asahara. Ashara was a blind man with long hair and beard who sat on the personal assets of his followers, raking in millions. He claimed that he was the second coming of Christ and that he could travel through time.
Aum believed that Armaggedon would come as a result of a war between the United States and Japan and that only members of Aum would survive. Non-members were doomed to eternal hell unless they were killed by members. In five coordinated attacks, members of Aum released the sarin gas on three different subway lines the morning of March 20, 1995. This was not the first time Aum had done gas attacks but it wasn’t until after this attack that Aum was associated with the other incidences.
Murakami, like many Japanese, was struck and affected by the enormity and tragedy of the incident and felt inclined to write about the matter. However, he knew it wasn’t his story to tell so he decided to interview the survivors of the attack. He initially did not want to include any details on the Aum cult or anyone that was involved with them due to the massive amount of media attention that they received, instead of wanting to focus solely on the survivors, however, Murakami felt the scope of the story was incomplete and eventually interviewed a few former Aum members in an updated version of his book.
Murakami gracefully puts together the events of the day with the survivor’s stories. From train station workers to commuters, and medical staff, you piece the horrors of this event together. What is prevalent in the interviews themselves is the long-lasting damage that occurred. Some survivors are left with debilitating physical grievances while others have deep emotional scars and for some a lifetime of disability, suffering, and loss. Murakami also shows the unique mannerisms and behaviours exhibited by Japanese people and how they cope with emotions and turmoils as a society. The addition of the Aum member interviews completed this book as it was provided with a much-needed perspective about the turn of events and the reasons behind why everyday, smart, and seemingly normal people turned to this cult, as well as additional insights into Japanese mentality and society.
If you are new to Murakami, I would not recommend this book to start with just because it is such a stark contrast to the fiction that he normally writes. While this book is excellent and definitely contains Murakami’s tone and style, it would not be the most appropriate introduction to Murakami’s work. It is, however, an important piece of literature to read if you’re interested in learning about Aum and the events of that day.
“The beauty and mystery of this world only emerges through affection, attention, interest and compassion . . . open your eyes wide and actually see this world by attending to its colors, details and irony.”
3/5 stars. Paperback, 508 pages. Read from January 10, 2021 to January 18, 2021.
This book has been on my TBR list for years and while it was supposed to be a selection for the book club I’m in it was changed due to it being a bit too long for a monthly selection. I decided that I would still take the opportunity to read it as it had been on my list for so long.
My Name is Red is a unique piece that manages to interweave a murder-mystery plot with a love story, that takes place in a historical setting, that also pays tribute to the creation and development of Ottoman art and culture in the shadow of the West and influence. The result? A finely crafted piece of literature. The story revolves around a group of miniaturists, one of whom is murdered. One of the three remaining artists is responsible but you won’t find out who until the end. Miniaturists were artists that would work together to paint manuscripts and within the Ottoman empire, these works were often a collaboration with a head artist coming up with the plan and outline and passing off the remaining work to apprentices. These manuscripts, despite their beauty, were rarely signed by their creators which, differs greatly from the Western traditions of art. This is one of the main points of conflict in the book as some of the artists are under coming under this new Western influence. As the murder mystery unfolds, a love story also takes hold that counterbalances some of the violence in the story as well as the more factual artistic and historical references. Pamuk’s writing style and unique narrative approach are elegant, poetic, and complete with wonderful and memorable quotes that leave a lasting mark.
“Colour is the touch of the eye, music to the deaf, a word out of the darkness.”
My Name is Red is an outstanding piece of literature that brings awareness to the culture and art of the Ottoman’s in the 15th century. However, if this is not an area you’re familiar with, it can make the book harder to appreciate or understand. Don’t let that stop you from reading this book though as it is a meticulously written novel that has a beautiful read with an immensely captivating story. Books like this one, help to turn attention to places that produced phenomenal art that was generally overlooked within the Western canon.
“In actuality, we don’t look for smiles in pictures of bliss, but rather, for the happiness in life itself. Painters know this, but this is preciously what they cannot depict. That’s why they substitute the joy of seeing for the joy of life.”
My three-star rating has to do more with my own reading experience as I wish I had done a little bit of prior research just before picking up this book. I would recommend these steps for maximum enjoyment before reading this novel. Knowing what a miniaturist is a good place to start as well as getting a visual for what types of works these artists produced and how they were used and read. Thankfully, Wikipedia has a decent summary that won’t eat too much of your time. A highly recommended read for historical fiction lovers and anyone with an art appreciation.