Normal

When I’m working with clients at my day job as a therapist, a lot of questions get asked. These can as often be prompted at the client’s request than from my own professional curiosity. However, at some point in the course of our work, one question will almost always be arrived at, regardless that finding its answer in a general or objective sense would seem intimidating: what’s normal supposed to be?

This question is provoked by the arrival of two large, often incompatible and almost always incongruent masses: our-normal — the nuanced consideration of the innate (though not necessarily immutable) principles and conditionings that define who we are as individuals — and normal-normal — the broader idea of how we should be both as individuals and with others, and our expectations for how society works. In our unprecedented present situation, given widespread self-isolation, a death count that isn’t stopping soon, and worldwide unemployment, to name just a few items, normal-normal seems less normal than it did previously.

I’ll start by saying that I’m pretty sure our-normal, who we are as individuals, isn’t going to change as much as some might fear. Individual change happens slowly, even when its intentional.  That said, over the course of our current crisis we may feel different due to a host of serious inconveniences, which — depending upon socio-economic factors — might wreak havoc on our lives, even traumatize; this isn’t even to mention the ever-present tension and the fact most of us don’t know what the the future looks like beyond the next week. This is not a safe time, for anyone, and these sorts of situations don’t happen often on a worldwide scale. In light of this, if we find ourselves suffering anxiety or depression during this unsafe time, even if we haven’t experienced those things before, I don’t generally consider that to be a sign of our-normal changing; I would contend it’s a sign of our-normal reacting within an allowable range, given the present context. If anything we may end up seeing more of ourselves (the good and the meh).

For me, the prime question boils to: when this is all done, what’s normal-normal going to be? What will normal be like with respect to unemployment support and health care services? What’s normal like for travel and public gatherings? When we don’t even know the next time we’ll be allowed to sit in a pub or café — let alone our favourites because they might’ve gone out of business? When we don’t know when we’ll be seeing our next paycheque, what’s normal supposed to look like?

I’m tempted to look at normal like the passage of time from the standpoint of physics. Time doesn’t really pass, it just is. There isn’t really a 2pm — that’s just society trying to sort itself out so that we know when to sleep and when to feed the chickens. Given the unpredictable timeline ahead of us, I think we will need to look at normal-normal similarly. Most of us would readily acknowledge that words such as “normal” are open to subjective bias, even if at the same time we are using them to define objective standards because we have to, because humans. I think we may be less comfortable acknowledging that normal can be something as subject to change as it is to definition.

What’s happening, I feel, is not the suspension of normal-normal, or normal-normal being reprogrammed. Like being part of an engrossing movie only to catch a piece of fake scenery, we are jolted out of the way we have accepted our places in, and the construct of, pre-pandemic society. I see this as an opportunity to question to what degree normal-normal, beyond semantics, truly exists, and who benefits.

I feel it’s important not to get too hung up on restoring whatever our collective version of normal-normal was, like the last backup of a computer. Among other things, there’s a lot of inequality there. When our community, municipal, provincial, and federal representatives inevitably talk about moving forward I would prefer that we not reflexively reach for  previous notions without first considering what can be addressed so that there is less inequality. I want to pay attention to the laws and precedents being laid down presently — like taking over a hotel in order to house the homeless, an initiative that was ignored by city council in the past — so that we are able not only to take care of ourselves and our communities today, but to think about the evolving normal-normal we want from this point forward.

As I might venture to share with a client, in answer to that inevitable question I opened with, whatever normal can be, whatever normal can include, we get to have a say.

 

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Social Media

In November of last year I decided to walk away from Twitter. There were a lot of things about it that were bugging me and, without making a big to-do, I logged off and deleted my browser and app shortcuts. I have not been back. Perhaps I will at some point.

Why did I leave? For a number of reasons that accumulated over time. Here’s an incomplete list, in no particular order:

  • people complaining about things outside of their control
  • writers sniping other writers
  • those wonderful people who speak as if they are in fact camp counsellors, on a pulpit, which is to say with the sort of blinkered condescension that makes my eyes water

Okay, so it’s a little more complicated.

A major attraction of social media is the lure of transparency. And there is a ridiculous amount of transparency. You have access to both the minuscule, quotidian drip-drops of individual human life but also world events happening in real time (KOBE BRYANT DEAD alongside 20% OFF SPORT JACKETS). Society has never before had this combination of immediacy and wide signal breadth. The volume of information is incredible, which also makes the proffering of forfeited information or divisive info-blasting all the more possible (and damaging).

In Yevgney Zamyatin’s novel We (which predated Orwell’s 1984), people under a totalitarian regime live in glass-walled apartment buildings, and thus, with their every action on display they (we) monitor and police themselves. The same can be made of Twitter and Instagram, where our thoughts, diatribes, party pics, and ever-present selfies are sent instantly to a potential audience of thousands.

I cannot imagine my 70s childhood under this sort of extreme transparency. What would the assassination of Anwar Sadat, or the Chilean coup d’ètat be like through the intense and unblinking lens of our current media landscape? Sure, we can look back and talk about things like cultural imperialism but how would those events have been exploited and plundered by the scandalously invested corporate media interests we have today? I cannot imagine what the early 80s, when I was entering puberty, would’ve been like, seeing the depressingly real possibility of thermonuclear war overshadowing our lives. I can imagine anxiety and depression on a level beyond what I already experienced. I can imagine suicide.

And then there is the interpersonal angle. As a therapist I often hear clients frustrated by the sight of friends, enemies, siblings, and exes seemingly having the time. of. their. goddamn. lives. Why? Because social media also acts as a combination hall of mirrors / highlight reel for people who may or may not be who they seem, or events that may or may never have happened in the way we see them. We, the viewer, permanently on the outside, can only guess. And if we are feeling less than confident (or worse, if our self-worth is particularly low) then our imaginations might construe in those fleeting, polished glimpses a dreamworld we aren’t invited into. We feel less, as a result. Our ultimate worth as people feels less because when we see ourselves in the real world, unfiltered, unpolished, not surrounded by laughing BFFs, it can feel as if we missed the boat. A lifeboat. A showboat. We end up feeling intrinsically less in every way. Don’t get me wrong, in client work I can invoke whatever expertise I have and tell someone it’s all a highlight reel, that no one is proudly posting selfies of themselves, alone, watching Dharma and Greg reruns with popcorn dust on their face. But when that person is feeling particularly vulnerable there’s no guarantee how they’ll feel when an acquaintance asks Did you see that video of ______ on Instagram?? and once more they are drawn into that alluring bauble-rich world.

Let’s not even get into how much time in our days are wasted scrolling to check user comments or mainlining “breaking” news updates. Let’s not even get into how populist politicians are exploiting the reactive nature of social media networks in order to sow chaos and divisiveness.

There are legitimate reasons we stick with social media platforms. Despite being seemingly abandoned to Moms and Dads, Facebook manages nonetheless to be an efficient way to organize social events with friends through its messaging app, or to share interesting articles. I’ve personally appreciated being able to follow numerous psychology researchers on Twitter, as well as musicians I admire. The problem is that each platform’s defects — the targeted bullying, the bots, the account hackers, the sanctimonious calling-out, as examples — are left for us, the users, to deal with and find solutions for.

I would love nothing more than to share news about my next book or short story being published, and to readily engage with readers (and other writers). I would also like to not see people I may know post things that are racist, or, more mundanely, inappropriate for a shared space. And here we come to another problem with social media: it can just as easily reflect and magnify our darkness, our ignorance, as much as it can broadcast our brilliant ideas about the world. I can’t fault the platform architects for that, though it would be disingenuous to suppose they hadn’t factored that bit of behavioural chaos into the algorithm.

I don’t know what to do with this because I don’t have an answer. For the time being I’ve decided to rotate my attention to whatever is least bothersome which also provides the value of communicating with people I know.

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Ambient

I don’t know how or when I got into ambient music. I can tell you there have been a few seminal contributors: classical music, movie soundtracks, minimalist and so-called world music composers, and the more spacious actors in pop/rock music.

Let’s start with a sort-of definition of ambient music, and I will begin by saying that I have no formal education in this realm. Ambient music is typically experimental and tends toward spaciousness and a lack of traditional (Western) song structure; it has its roots in the likes of 20th century composers such as John Cage, as well, during its development, contributions from traditional music from India and Japan, as well as from jazz. It can be a formless and electronic haze, or it could be all about exacting pattern and repetition using traditional instrumentation. There is also often a sense of the tactile. I will include some examples toward the end of this piece to begin to provide some context. At the end of the day, what is and isn’t strictly termed “ambient” is often more a question of the composer’s intent. You will just as likely see genre labels such as “minimalist,” “drone,” and “experimental” instead, as the term “ambient” can be a sort of kludge.

As a primary influence on me, classical music is a no-brainer, and like a lot of kids who grew up at the time I did, we were treated (or as I like to say, inculcated) to classical music through Bugs Bunny and Disney cartoons. As an adult I love the flourish and bombast of Shostakovich and Borodin, and the aching lyricism of Vivaldi and Bach. However, there is something undeniably mesmerizing about a brief section of Act II of Wagner’s opera Siegfried, where, through gorgeous use of instrumentation and dynamics we are surrounded by the quiet stirrings of nature — it surrounds the listener and one has no choice but to surrender to its formlessness. This formlessness is not something we often associate with something so strictly structured as classical* music.

the cover of Twine, an album by Taylor Deupree and Marcus Fischer. This image shows 1/4" audio tape loops hanging from the top of the frame.

As a movie buff, it makes perfect sense, given my exposure to classical music as a child, that movie soundtracks would inspire my appreciation of ambient music. Even in an epic space opera such as The Emperor Strikes Back there are many moments — particularly the suspenseful, quiet bits — where John Williams draws from classical roots, but of course, in order to create mood and retain timbre, sections end up as long stretches of almost abstract-sounding composition. Another perfect example would be the use of György Ligeti’s Lux Aeterna in Stanley Kubrick’s 2001: A Space Odyssey during the monolith scenes. Funny how sci-fi tends toward this direction.

A movie and a soundtrack that shook my foundations as a teenager was Godfrey Reggio’s Koyaanisqatsi. While the imagery was both disturbing and inventive, it was my introduction to Philip Glass’ minimalist composition that entranced me. Its mantric dedication to repetition using an orchestral ensemble and use of church organ and choir during its more climactic parts was catnip to this kid. When, a year or so later after seeing this, I discovered that Glass had collaborated on an album with Ravi Shankar (1990’s Passages) I couldn’t resist picking up a copy at a classical/jazz record shop near where I worked as a photolab technician. It was love at first listen; while some might’ve thought that the two were at odds with each other — one an avant-garde composer, the other an Indian classicist — their collaboration (each took turns orchestrating the other’s compositions) was a major influence on me.

To save space here, I will briefly name three other significant musical influences: David Sylvian, Talk Talk, and Miles Davis. Sylvian’s Japan reunion of-sorts, Rain Tree Crow, only put out one album but it was a low-key combination of rock/jazz/experimental soundscapes with African rhythms that has had a lasting influence on how I decided to listen to music. Talk Talk’s last two albums — Spirit of Eden and Laughing Stock — are rightly hailed as experimental masterpieces of pop-meets-improv jazz however a single song deserves mention, from their comparatively more formal pop album The Colour of Spring: April 5th. You can see where they were going with only that one song (and the album is wonderful as it is). Lastly, discovering Miles Davis’ album In A Silent Way was another key piece in my ad hoc self-education: the tactile nature of the instrumentation has been hugely influential on composers of all genres since then (and you can hear a motif from this album used on Taylor Deupree and Marcus Fischer’s Twine).

Over the last seven or more years, I’ve become deeply involved with ambient/experimental works by composers such as Stephan Mathieu (who not only composes but masters others’ work at his studio) , Deupree (who established the influential ambient label 12K), and France Jobin, as well as those, like Ryuichi Sakamoto and Christian Fennesz, who dip in and out of the ambient genre.

In an age where we are bombarded with divisive and interruptive dialogs encouraging us to be outraged at every turn (not to mention the very real aspects of society that are worth our outrage, if only we had the time and energy to devote to them while being able to support ourselves financially), experimental ambient music allows me — on a good day — to reset my thoughts and tune into a more free-form sonic world. Ambient is not pablum. Ambient is not “new age music.” If anything ambient has been about transcending the boundaries of “instrument” and “technology”, something all genres of music have attempted at one time or another; hip-hop does this particularly well.

Here are some examples that have been influential for me:

Radioland, by Stephan Mathieu: https://schwebung.bandcamp.com/album/radioland-2

Perpetual, by Ruyuichi Sakamoto / Illuha / Taylor Deupree: https://12kmusic.bandcamp.com/album/perpetual

Duo, by France Jobin + Richard Chartier: https://matterlabel.bandcamp.com/album/duo

~~~, anna roxanne: https://anaroxanne.bandcamp.com/album/-

Arrow, by Richard Youngs: https://preservedsound.bandcamp.com/album/arrow

Tracing Back The Radiance, by Jefre Cantu-Ledesma: https://jefrecantu-ledesma.bandcamp.com/album/tracing-back-the-radiance

Allister Thompson hosted a blog, Make Your Own Taste, that contains a lot of ambient artists and contextual information on the genre. You would do well to visit if this is your thing.

*note: I use the term “classical” generically; technically I prefer the Baroque and Romantic periods best, truth be told.

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Content Discontent

I think I’ve had my fill of TV (streaming or otherwise) and mainstream films.

The first problem is mine, and is one of saturation. I worked in film and TV post-production for 20 years, watching everything from 15-second TV commercials to multi-part TV series, to box office-busting films. And part of working in film and TV is keeping up your fluency so that you can communicate effectively with each other (if a director makes a reference to Picnic at Hanging Rock you better be ready to watch it if you haven’t seen it already). Also, I’ve watched hundreds of films and countless TV shows over the course of my life — the seminal and forgettable, the laughable and the revelatory.

I’ve pretty much seen every storyline at least once. I’ve seen every twist and turn, every “surprise ending.” I’ve seen every plot device, every sort of villain, every sort of (male) anti-hero, every sort of Disneyesque sentimentality and every sort of nihilist purging of the arthouse soul. It’s hard for me to be taken in by a show or movie — either to suspend my disbelief or my anticipation of what the creators are going to do.

The second problem is out of my hands. In this age of streaming services, we are awash with content. Netflix, Amazon Prime, Crave, etc. all require things to put on their virtual shelves so that we can be enticed to part with our money in order to explore their goods. I have no problem with this business model — it’s basically turned into (back to?) cable TV. The problem is one of quality. It seems that, in the effort to fill the shelves  seasons are lengthened with filler and show renewals are rubber-stamped that end up being samizdat versions of the preceding season. Multiplexes are filled with the faddish (and profitable) notion that (see: Marvel) everything can be part of a franchise. If I hear another producer say “We originally imagined this as a trilogy/series in four-parts” I’m going to scream.

What bugs the shit out of me is how this affects what’s presented as upper tier programming. A good example is Good Omens, the heralded adaptation of Neil Gaiman & Terry Pratchett’s collaboration. I haven’t read the original book — I have a notion that it’s written in a larger-than-life, Douglas Adams-y style — but the show is painful to watch. It wants to be sly and slick satire and it has strong early moments, but it’s all so buffoonishly overplayed — the actors who aren’t line-reading chew their way through the scenery — to the degree where I had to wonder whether the producers might’ve considered making it for children. The worst is that for a six-part series there’s barely enough story to take up three. I lost count of how many time-sucking flashbacks and side-stories are introduced in order to lead to the telegraphed, overdue finale. Speaking of Gaiman, adaptations, and overdue finales, please see the meandering second season of American Gods (which I abandoned).

For the record, I don’t have a problem with the Marvel Universe franchise. They’re not hiding anything: it’s a stream of big-ass popcorn epics. They aren’t being released as exemplars of anything other than “hey, here’s a well-executed adaptation of a comic book most people haven’t read.” Sure, given the choice I’d rather watch an imperfect  Olivier Assayas film over Ant Man, but at least I can watch the latter and know where to keep my expectations dialled.

While I’m bleating, a trend I wish would die, pardon the pun, are films where it’s obvious the protagonist won’t get a scratch despite killing 100 hired assassins (see the three John Wick films, The Equalizer, and Colombiana). Where’s the suspense if you don’t allow the audience to imagine that, no, the protagonist might not make it. This is an inherent problem with films and TV shows that are made in the hope of infinite reboots: no suspense (see: Orphan Black, a prime example of where the producers missed multiple opportunities to draw more attention by killing off one of the clones).

Why can’t we make something, leave it be to stand on its own merits, and move on without exploiting its success with sequels and prequels and remakes and reboots? As good as the original was (and it is), who in god’s name, save for the cast and crew, asked for a second season of Big Little Lies? What part of that story begged for extended development? Note: Liane Moriarty, the author (whom I share a birthday with) whose novel was adapted into the show never wrote a sequel until the HBO adaptation achieved success (she ended up writing a novella by request, not exactly the way any author would like to work, let alone revisit characters, though I don’t blame her).

Anyhow, I sometimes wonder, in the industry’s effort to satisfy its appetite for content, whether we are sacrificing the magic of our relationship with entertainment for the sake of Say’s Law, the (questionable) belief that supply creates its own demand.

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Book Review: Casting Light on the Dark Side of Brain Imaging

Whenever a mental health authority is interviewed in the media it’s nearly inevitable that this person is a medical doctor, usually a psychiatrist. This individual typically isn’t a practicing therapist; they may only be able to speak of clinical diagnoses and/or the prescription of psychopharmaceuticals. I mention this because when this authoritative psychiatrist is interviewed in the media I end up listening to a depiction of the massively complex human interrelational landscape I see around me every day, as both a writer and psychotherapist, reduced to a chemical imbalance in someone’s brain. It’s like ascribing a boxer’s loss of a title match solely to the width of their biceps.

book coverThe gold standard for looking at mental health is through what’s called a biopsychosocial lens, a flexible model that allows professionals to consider the biomedical (for example, thyroid issues, dementia), the psychological (traumatic experiences, abusive relationships), and socio-economic factors (unemployment, impoverished environment) that might be at play in the mental health profile of any given individual, even if it ends up a combination of one or more parts. In North America there is unfortunately a sacred primacy around the biomedical approach to mental health, with the psychological and socio-economic as (at best) secondary considerations at the table of funding and education. At this moment there are medical doctors losing sleep wondering how to beat the shame of knowing there is a patient in their care whose condition might be psychogenic (meaning, whose pathology is not, strictly speaking, a biomedical end product). Continue reading “Book Review: Casting Light on the Dark Side of Brain Imaging”

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Writing Adv*ce: Character

I’ve been thinking lately about a couple of short stories I’ve been working on over the last few years that don’t seem able to find a home with a publication. Now, there are a thousand reasons for a story to get rejected, and some of these have little to do with whether or not a story has issues to be worked out: subject matter, “fit,” philosophical angle. The stories I’ve been thinking about felt fleshed out and yet I suspected — no matter how badly I wanted to believe they were “done” — they were missing something that kept them from being as good as they promised to be, and, if I were honest with myself, the sort of work I want to be known for: complex, nuanced, readable.

One clear-headed morning on my walk to work, I was feeling comfortable enough to get over my nearsighted, belligerent writerly arrogance and apply some frank analysis to these two works.

Rather than bang my head against the wall staring at the works themselves, which I’d done previously, I took a different tack and investigated what it was that made some of my previously published work resonate and these current works not. And I realized, thinking specifically about Snowshoe and There Is This Thing About You, that the characters in these works were relatable — you might even despise them, yet there was a rapport with the reader, an “in”. These are difficult characters, conflicted, and sometimes there will be the desire to sublimate these characters onto a two-dimensional plane that makes it easy to dislike them. Yet, though we might grow impatient with their lack of finesse, accomplishment, and patience, the reader can’t help but want to relate to them, to understand what makes them tick. And in the stories I’ve been troubleshooting I discovered this very thing — relatability, respect, empathy — to be at least part of the missing element.

I recognized that each of these problematic stories featured a supporting character who was, to some degree, the bane of the main character’s journey; in each story the protagonist couldn’t possibly move forward without the effort of this unwitting adversary for whom in each story the protagonist lacked respect on some basic level. And it occurred to me that if the protagonist so clearly lacked respect for them on the page then on some level maybe I did too.

Despite this revelation, the work ahead is not paint-by-numbers. If anything, I realize that there’s a deeper layer that’s missing and by nature deep layers don’t just get applied like false eyelashes. It’s going to take some more reflection before I understand the meaning of what needs to be done, otherwise whatever I do is going to have QUICK FIX written all over it and the wily reader will see it a mile away.

Oh, and for anyone reading this who is under the impression that once these changes are made getting these stories published is a slam dunk, think again. Unless your name is Alice Munro you’re always going to find yourself at the whims of an editor or editorial reader — that’s just the way it goes.

(* I hate advice-giving, so rather than doing that, I’m going to provide something more meditative and complex, and maybe useful to some)

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Book Review: Conflict Is Not Abuse, by Sarah Schulman

I’ve noticed more and more over the last decade that less and less people want to use the phone. I cannot help but draw a correlation between this observation and the ubiquitous rise of digital communication. Email? Sure. Text? Yup. And what’s wrong with this, you might ask? On paper it would objectively appear that text-based communication (particularly including social media) is superior at transferring information without error, if only us pesky humans didn’t make mistakes. And this last part is key: we are not objective, we balance the objective world with our much less easily measurable experiential (or personal) reality; this second reality is informed by our experiences, which are diverse and sometimes punctuated by trauma or loss. When we talk to someone on the phone we are leaving ourselves prone — to fallibility (stammering, going off on a tangent), or having our hesitations read as something we may not otherwise wish to reveal.

I was thinking about these things (and many others) when I began reading Sarah Schulman’s powerful book, Conflict Is Not Abuse: Overstating Harm, Community Responsibility, and the Duty of Repair. The problem with nearly all forms of digital communication and social media (with the exception of apps like Skype, etc) is that there is no actual dialogue — we aren’t allowed to have the sort of vulnerable conversations that speaking in-person or on the phone forces us into. And, in one of the book’s more important diagnoses, Schulman recognizes this as a key ingredient in the escalation of violence. Instead we are only allowed to trade unidirectional statements, leaving nuance and human connection by the wayside. So, when we have a disagreement with someone via text it becomes easy to pile on them, to vilify them. We can’t see them and there is no way for them to interject. On a social media platform like Twitter, this sort of conflict easily escalates into directing the wrath of groups upon an individual. Continue reading “Book Review: Conflict Is Not Abuse, by Sarah Schulman”

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Essay in Humber Literary Review #6

I’m happy to say that the latest issue of Humber Literary Review (#6) is out, and I have an essay included. This is their first themed issue, and it’s about mental health. Because I’m a psychotherapist who is deeply reflective about the way in which we choose to see the world, I saw this as a golden opportunity to submit a pertinent perspective; my essay, On Madness Within Imagination, confronts a cultural blindspot – the depiction of madness in fiction.

 

 

 

 

 

 

 

 

 

 

It is available at the following Toronto bookstores:

Another Story (on Roncesvalles)
Book City on the Danforth
Book City on Queen
Book City on St Clair
Book City in the Village
Presse Internationale on Bloor
Presse Internationale in the Beaches
Type Books (on Queen)

It is available elsewhere, of course, but I have no clue where. You can also purchase a subscription from HLR.

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Handbound Print Edition of Snowshoe For Sale

I do a lot of talking about my novel, The Society of Experience, however that’s not the only work of fiction I’ve had published. Found Press, who has published my stories in their unique digital singlet format, is experimenting with the idea of creating limited print editions of select authors’ stories. I’m happy to say that one of those chosen is Snowshoe, my spooky piece about a father trying to get his son to sleep only to realize the boy is haunted by something more ominous than the wind outside.

Snowshoe handbound print edition (5 1/2″ x 4 1/4″)

This is well-timed since I read from Snowshoe on October 25th for the International Festival of Authors and it got a great reception. I have in my possession 15 copies – that is the extent of the initial print run since they are handbound. I am selling them for $15 each (optionally signed, if you wish). Or, if you haven’t yet read The Society of Experience (longlisted for the Sunburst Award, fave of Harper’s Bazaar magazine, as well as Emily Saso’s favourite book of 2015) I will sell a bundle of Snowshoe and The Society of Experience (regular $37 if bought individually) for $32 (and yes, optionally signed, if you wish). Crazy cheap bargain Cahill stop it.

The Society of Experience bundled with Snowshoe

Obviously, I only have 15 copies of Snowshoe, and while there will most likely be more in production (I can tell you there is a lot of interest from independent bookstores here in Toronto in this and other FP titles) because they are hand-made they don’t exactly slide off a conveyor by the hundreds. In other words, there’s no guarantee when more will be available.

If you are interested, get in touch: matt [at] mattcahill [dot] ca. Note: postage is extra (but reasonable)

 

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A Note For Book Clubs

This past weekend I had the pleasure of visiting a book club in Brantford, Ontario. It was my first experience and I truly enjoyed it. I valued the perspective of the readers and was able to hear questions I often wouldn’t get a chance to hear in professional Q&As, which end up being rather tightly formatted. The questions I received were often challenging and thought-provoking. It was also fun talking about my history there (I spent a chunk of my early years in Onondaga), which was referenced in the Brantford Expositor last year.

I wanted to share this because if anyone reading this has a book club and would consider having myself (and my book, The Society of Experience) make an appearance, please feel free to get in touch. My contact info is on my author page: http://mattcahill.ca. I can’t always guarantee my availability, but wherever I can make it work, I will. I’m happy to make a visit in-person, as well as field a Q&A via email, or take part in a Skype session.

 

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