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Thirteenth Issue
Volume 7, No. 1


O Mordecai, Where Art Thou?
By Juan Rodriguez


Quebecite: A Jazz Fantasia In Three Cantos
Reviewed by Kelly Murphy

A House By The Sea
Reviewed by Ian McGillis

The Speaking Cure
Reviewed by Mark Heffernan

The Applecross Spell
Reviewed by Eleni Zisimatos Auerbach

Universal Recipients
Reviewed by Eleni Zisimatos Auerbach

Black Bird
Reviewed by X.I. Selene

A Sunday At The Pool In Kigali
Reviewed by Edward R. Smith

Song For My Father
Reviewed by Mary Soderstrom

The Heart Is An Involuntary Muscle
Reviewed by Kim Bourgeois

Another Book About Another Broken Heart
Reviewed by Poppy Wilkinson

Without Cease The Earth Faintly Trembles
Reviewed by Jessica Ticktin

fiction at a glance

After All!
Reviewed by Margaret Goldik

Moosehead Anthology #9: Career Suicide! Contemporary Literary Humour
Reviewed by Ian McGillis


Respectable Burial: Montreal's Mount Royal Cemetery
Reviewed by Margaret Goldik

Shoshanna's Story: A Mother, A Daughter, And The Shadows Of History
Reviewed by Elizabeth Johnston

Louis Riel
Reviewed by Philip Hawes

Tables For One: A Spanish Journal
Reviewed by Sarah Rosenfeld

Practice Imperfect
Reviewed by Joan Eyolfson Cadham

Ha! A Self-murder Mystery
Reviewed by Anne Cimon

Spoken Here: Travels Among Threatened Languages
Reviewed by Jill Rollins

non-fiction at a glance

Reviewed by Margaret Goldik

A Love Of Reading: The Second Collection
Reviewed by Margaret Goldik

Entering The War Zone: A Mohawk Perspective On Resisting Invasions
Reviewed by Margaret Goldik

Drive I-95: Exit By Exit Info, Maps, History And Trivia
Reviewed by Margaret Goldik

Crooked Smile
Reviewed by Margaret Goldik

Four Hundred Brothers And Sisters
Reviewed by Margaret Goldik

After Notman: Montreal Views - A Century Apart
Reviewed by Ian McGillis


Snow Formations
Reviewed by Bert Almon

In The Worshipful Company Of Skinners
Reviewed by Bert Almon

Bamboo Church
Reviewed by Bert Almon

An Abc Of Belly Work
Reviewed by Bert Almon

young readers

Emma's Story
Reviewed by Carol-Ann Hoyte

The Mole Sisters And The Fairy Ring
Reviewed by Carol-Ann Hoyte

The Mole Sisters And The Way Home
Reviewed by Carol-Ann Hoyte

Learning With Animals
Reviewed by Carol-Ann Hoyte

Sink Or Swim
Reviewed by Carol-Ann Hoyte

Suki's Kimono
Reviewed by Carol-Ann Hoyte

Peter's Pixie
Reviewed by Carol-Ann Hoyte

A Friend For Sam
Reviewed by Carol-Ann Hoyte

Sam's First Halloween
Reviewed by Carol-Ann Hoyte

Tales Of Court And Castle
Reviewed by Carol-Ann Hoyte

Think For Yourself: A Kid's Guide To Solving Life's Dilemmas And Other Sticky Problems
Reviewed by Carol-Ann Hoyte

Nellie Mcclung: Voice For The Voiceless
Reviewed by Carol-Ann Hoyte

The Heart Is An Involuntary Muscle
By Monique Proulx
paper 360 pp.
Douglas & McIntyre 1-55054-991-X

Taking the plunge

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New Document I was lying alone in the dark recently when an old Roy Orbison tune, "Falling," came on the radio, reaching across time and space to stir up ideas and emotions. While the Big O's voice coloured the night blue, I pondered the words we use to describe that age-old, distinctly human experience: falling in love. As the title of the song would suggest, the key word here is falling, a term my thesaurus equates with sinking, slipping, nose-diving, stumbling-in short, losing control. When you look at it this way, it sounds a bit scary.

At least that's how Florence, the 25-year-old, super-cerebral heroine and narrator of Monique Proulx's latest novel, seems to perceive it. Though on some level she longs to connect romantically with Zeno, her colleague and would-be lover, she is ruled by fear, and unconsciously sets up barriers. As a web site designer, Florence is typical of her generation, experiencing life through the filters of modern technology; e-mail and voice mail serve as buffers, making direct contact with other human beings almost obsolete. Occasionally, she meets up with Zeno in the Greek restaurant they've chosen as their unofficial headquarters to discuss business, but whenever things get too heated emotionally, she simply "logs off." Once crisis cracks open her resistance, though, she begins to bloom-a process which is a pleasure to witness.

In the meantime, a heightened sense of vulnerability renders her allergic to any mode of letting go. Everything from imbibing alcohol to surrendering to the power of a persuasive book leaves her feeling hung over and defenseless. When a line uttered by her dying father leads her to read a novel by one of Zeno's favourite authors, Pierre Laliberté, she is deeply troubled by her inability to put the book down: "That which I feared most had come to pass," she says. "I lost everything. My self-control, my freedom." Overcome with emotion, Florence finds herself wondering, "how can words on paper be transformed into heat and violence?"

Good question. While Monique Proulx has borrowed the form of the mystery novel, and her main plot consists of uncovering the true identity of the elusive Pierre Laliberté, we can't help but feel that her underlying motive was to explore the theme of writing. Referring to one of Pierre Laliberté's books, Florence says, "Presenting the story in a schematic form explains nothing, because the plot is no more than a brass plate upon which to serve the main course, and the main course is wild emotion carried along by the words themselves." In Proulx's case, the main course is delightfully seasoned with acute observations on the ways of wordsmiths.

Her insights are often profound, underlining the sense of wonder and curiosity writers typically possess. And while a less skillful author might sound pretentious while exploring this territory, Proulx's self-deprecating sense of humour saves her. Gina DaSilva, a writer whose web site Florence must design wryly points out, "Writers are no more neurotic than you are. It's just that they hold up their neuroses for everyone to see."

Gina's reference to neurosis suggests that there is something dark and dangerous about the writing process, that it somehow constitutes a form of transgression. It's probably no coincidence that Florence later mentions artists, criminals and the mentally ill in the same breath: "During transitions, depressive personalities sink into depression, criminals into crime, and artists worthy of the name into illuminations that will shake their lives and those of others."

Overall, Proulx gives the sense that writing is a worthwhile journey, but that it entails following an unbeaten path that can lead well beyond the boundaries of your comfort zone. As an act of transition, it threatens to cause growing pains similar to those experienced by Florence, and "casts [you] into vertigo, the only space infinite enough to hold all [you] do not know." Writing, Proulx seems to be saying, involves taking a risk, much like falling in love. It demands giving up control, taking the plunge, and letting go of that old involuntary muscle-the heart.

Kim Bourgeois lives and writes in Montreal.