GHOST BOY

MARTIN PISTORIUS with Megan Loyd Davie

Locked in Syndrome must truly be a fate worse than death. Pistorius was a normal little boy until the age of 12 but by 14 both his brain and his body were paralysed. Eventually his brain woke up but his body never did. Nobody knew he was home until years later a care

martin-with-bookgiver at the day home tried to reach him after attending a workshop. Within 18 months he was communicating with a computer, working and going to school. He writes about how much pain his body was in sitting in a wheelchair all day. When he go older it was worse because sometimes he was put down so he was sitting on his testicles and he couldn’t move nor ask for assistance.

At home his father was his main care giver. Mom found it too difficult. “My mother looked at me, her eyes filled with tears. I wished that I could reassure her, stand up from my wheelchair and leave behind this shell of a body that had caused so much pain. ‘You must die,’ she said slowly. ‘You have to die.’ The rest of the world felt so far away when she said those words. She got up and left me in the silent room. I wanted to do as she bid me that day. I longed to leave my life. As time passed, however, I gradually learned to understand my mother’s desperation and to forgive her. Little by little I learned why it was so hard for my mother to live with such a cruel parody of the once healthy child she had loved so much. Every time she looked at me she could see only the ghost boy he’d left behind.”

“However much I tried to beg and plead, shout and scream, I couldn’t make them notice me. My mind was trapped inside a useless body, my arms and legs weren’t mine to control and my voice was mute. I couldn’t make a sign or a sound to let anyone know I’d become aware again. I was invisible – the ghost boy. My father’s faith in me was stretched almost to breaking point – I don’t think it ever disappeared completely. Each day Dad, a mechanical engineer, washed and fed me, dressed and lifted me. A bear of a man with a huge beard like Father Christmas, his hands were always gentle. I would try to get him to understand I had returned, willing my arm to work. ‘Dad! I’m here! Can’t you see?’ But he didn’t notice me.

BOY is an easy read and quite a page turner. Highly recommended.

KISS OF THE FUR QUEEN

TOMSON HIGHWAY

What a wonderful novel. Definitely a must read. I couldn’t say it any better than this review that I borrowed from The Canadian Book Review.

Tomson Highway is one of Canada’s best known playwrites, most notably the author of The Rez Sisters and Dry Lips Oughta Move to Kapuskasing, both of which are Dora and Chalmer’s Award winning plays. Published in 1998, Kiss of the Fur Queen is Highway’s first and only novel; containing many autobiographical points, this book takes on a lot of issues. In North American Native literature there has been a trend of authors either being too hard on their own culture or glossing over the harsher realities of Native life. Highway, a Cree from northern Manitoba, walks a fine line between these two extremes with his writing. This novel takes place over the course of around 35 years; looking at how Natives were treated in Catholic residential schools, sexuality, art, and family.

The story focuses on a pair of brothers, Jeremiah and Gabriel Okimasis, and their journey from birth to young adulthood; in each of the six parts of the book, a different stage of the brothers lives are narrated. As you start to read this it takes a few chapters to really get into the book and get used to the language. Canadian Native lit is often written with the same style as the oral narrative, which is an important piece of their culture; if you were to read a few pages out loud this will be very apparent. The dialog is as beautiful as would be expected from a playwrite of this caliber.

The topics and themes of this story are very serious subjects and are, at several points in the novel, very difficult to get through, mainly because of Highway’s vivid writing. The Okimasis brothers are representative of the Native community as a whole in the early fifties; they are being pulled away from their Cree culture and thrust into the world of Catholicism and the indoctrination that would come with attending a residential school. There are horrifying scenes of abuse and molestation as well as heartbreaking scenes of torment directed towards the only two Natives at this school. As the story progresses the focus turns to Gabriel’s sexuality. As he confronts his homosexuality, in a time when this was not overly accepted, he descends into promiscuity and prostitution with constant flashbacks of the abuse he suffered at the hands of the priests. This part of the novel is so beautifully written but so hard to endure. There is so much pain in Gabriel’s life and past that he really doesn’t stand a chance to live a so-called “normal” existence.

My one criticism of this book, and it is not exactly a flaw of the writing, likely more so a flaw with this reader, the details used when Highway is writing about dancing and music are so detailed, with so much technical terminology, it is sometimes difficult to understand what exactly is being said. Jeremiah and Gabriel, eventually become a world-class musician/playwrite and dancer respectively. These details though certainly give the story a level of depth and believability when looking at the brothers passion for their arts.

This is a very sad book; at points there seems to be very little hope for the characters, and even at the end of the novel, it could be argued there is still none. In a short review it is impossible to touch on everything this book looks at. This is the type of novel academics could spend years and countless articles looking at. A beautiful novel, a moving novel, and an eye opening novel, I thinkKiss of the Fur Queen will definitely be looked at as one of the great Native novels of its time along side Three Day Road and Green Grass, Running Water.