Miriam Toews - All My Puny Sorrows

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SHORTLISTED 2014 — Scotiabank Giller Prize.
Miriam Toews is beloved for her irresistible voice, for mingling laughter and heartwrenching poignancy like no other writer. In her most passionate novel yet, she brings us the riveting story of two sisters, and a love that illuminates life.
You won’t forget Elf and Yoli, two smart and loving sisters. Elfrieda, a world-renowned pianist, glamorous, wealthy, happily married: she wants to die. Yolandi, divorced, broke, sleeping with the wrong men as she tries to find true love: she desperately wants to keep her older sister alive. Yoli is a beguiling mess, wickedly funny even as she stumbles through life struggling to keep her teenage kids and mother happy, her exes from hating her, her sister from killing herself and her own heart from breaking.
But Elf’s latest suicide attempt is a shock: she is three weeks away from the opening of her highly anticipated international tour. Her long-time agent has been calling and neither Yoli nor Elf’s loving husband knows what to tell him. Can she be nursed back to “health” in time? Does it matter? As the situation becomes ever more complicated, Yoli faces the most terrifying decision of her life.
All My Puny Sorrows, at once tender and unquiet, offers a profound reflection on the limits of love, and the sometimes unimaginable challenges we experience when childhood becomes a new country of adult commitments and responsibilities. In her beautifully rendered new novel, Miriam Toews gives us a startling demonstration of how to carry on with hope and love and the business of living even when grief loads the heart.

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It was late. Neighbours were switching out their lights. Bottles were being smashed in the back lanes. We decided to go inside and play a song on the organ that my mother had inexplicably delivered to Julie’s house in the middle of the night, that rainy night, weeks ago. David Bowie’s “Memory of a Free Festival.”

We both kind of sang, mumbled the lyrics, stumbled through. The sound of the organ fit with the elegiac tone of the song. We knew the song backwards and forwards, just not well. We held back, sang it comically and half-heartedly. I think that we both wanted to give ourselves up to the song, to sing it earnestly and boldly, the way it sat in our memories, but it was so late, the kids were sleeping, we were tired, and it was so late.

I was in the underground car park at the Ste. Odile Hospital screaming at a man who was standing next to his wife who was holding a young child. I had dropped my mother and my aunt off at the entrance to the intensive care ward and was attempting to park the car in a very tight space. I heard a guy saying hey, what the hell is your problem? I got out of the car and asked him what he meant. He said I was really close to his car, if I scraped his car or touched his car with my door or anything, my side-view mirror, there’d be hell to pay.

Hell to pay? I said. Did you actually just tell me there would be hell to pay if I touched your fucking car?

The guy was standing there with his wife and kid and they were all staring at me. I began to speak in a really loud voice. It wasn’t a scream, but it was crazy. I told him that I was about to go upstairs to see if my sister was dead or alive and that the spaces were really small, had he noticed that, and had I actually touched his stupid car, no, I hadn’t, my car was exactly between the lines, look at it, look at it, and had he ever loved a person more than a car or anyone other than himself?

I turned to his wife and asked her how she could be married to a man like this, how she could share a bed with this monster and conceive a child with him, the one she was holding in her arms, and I told her my own mother was upstairs trying to understand why her daughter wanted to die and that my aunt was also upstairs trying to understand why her daughter had wanted to die and that sometimes in life there were things we had to wonder about, things other than cars.

I was close to them. I persisted with my insane line of questioning. How can you be married to this man? Can’t you all see that my car isn’t touching your car?

They stared at me. The woman backed away from me with her child and said something to her husband who eventually shook his head violently to one side like he was trying to get water out of his ear and then walked away and joined his wife and kid.

I watched them leave. I crouched down beside my car, not close to his, and squatted there, trying to get my breath back. Then I went inside and got into the elevator and pushed a button, the one that would take me to Elf and the others. The man’s wife was in the elevator but the man and the kid weren’t there.

I’m sorry, I said to her, about all that. I waved in the direction of somewhere else. I’m sure you’ve got your own thing going on here. I’m really sorry, okay?

She stared at the floor numbers blinking on and off. I wanted to tell her that she had to tell me that it was okay, that she had to forgive me. That was how it worked. I told her again that I was really sorry. I’m so stressed out, I whispered. She stared at the numbers. We were going up. She got out, finally, without having said a word. I watched her walk away, down the corridor, she shifted her heavy purse from one shoulder to the other, and then the elevator doors closed.

My aunt was standing in the little vestibule next to the ICU ward in her purple track suit and her shiny white Reeboks. They were so small, like a child’s. She was holding a pencil. She was doing a sudoku. When she saw me she put the newspaper on the chair and gave me a hug. She told me that my mother was with Elfrieda, that Nicolas had just been there but had to go to work to deal with a valve problem, and that Elfrieda was awake and off the respirator. She told me she was going to get a coffee, did I want one? She asked me if I was all right. I told her what I had done, that I had told an innocent woman that her child had been conceived with a monster, and other things, and she told me it was okay, it was understandable.

But I just wanted that woman to tell me that too, I said.

My aunt nodded and told me that the woman would tell me that but probably not for a while, maybe years, and then only silently, in her thoughts, so I wouldn’t hear it but one day I’d be walking down some street and feel a kind of lightness come over me, like I could walk for miles, and that would be the moment when the woman from the parking lot had suddenly understood my horrible outburst, that it had nothing to do with her or her husband or her child, and that it was okay.

Forgiveness, sort of. Got that? said my aunt.

Okay, I said, so when I feel the lightness coming over me, on a street … I’m walking and …

Yes, said my aunt. Cream and no sugar, right?

She hustled off in her sportswear to find coffee and I looked at my mother and my sister through the glass wall. Elf’s eyes were closed, my mother was reading aloud to her. I couldn’t tell what book it was. She had a new sweater on, it had geese flying on it, she must have borrowed it from my aunt. My sister was so thin I imagined that I could see the outline of her heart. I went back to the waiting area and sat down and took my aunt’s sudoku and tried to finish it. I said how the hell do these fucking things work? to myself, but loudly, and a man looked at me and flared his nostrils. I fell asleep in the chair and when I woke up my mother and my aunt were gone.

I went to see Elf and she was alone in her room, staring up at the ceiling. I sat next to her and took her hand. It was dry and I reminded myself to bring hand cream next time. It smelled like burnt hair in there. I put my head down, way down, like I was trying not to be carsick, and I didn’t say anything. Elf told me that we were a painting.

You can talk! I said.

She told me that her throat was healing. She asked me if I knew of Edvard Munch’s painting The Sick Child . No, I said, but is this it? She said yeah, that it was inspired by Munch’s dying sister. I told her but you’re not dying. Look at you, you’re talking now. She asked me why we had to be humans. I put my head back down, way down, towards the floor.

Okay, okay, she said. Don’t do that. You look so defeated.

I said well for god’s sake, Elfie, how do you think I should look?

I need you to be okay, she said. I need you to—

Are you fucking kidding me? I said. You need me to be okay? Oh my god. Oh my god. Look at you!

Okay, said Elf. Shhhh. Please. Let’s not talk. I’m sorry.

Have you ever thought about what I might need? I said. Has it occurred to you ever in your life that I’m the one that’s colossally fucked up and could use some sisterly support every once in a while? Have you ever got on an airplane every two weeks to rush to my side when I’m feeling like shit and wanting to die? Has it ever occurred to you that I’m not okay, that everything in my life is embarrassing, that I got knocked up twice by two different guys and had two divorces and two affairs that were — are — not only a nightmare but also a cliché and that I’m broke and writing a shitty little book about boats that nobody wants to publish and sleeping around with men who … fucking ooze nicotine into their sheets from their entire bodies so they leave outlines like dead—

What? said Elf.

Has it ever occurred to you that I have also lost my father to suicide, that I also am having a hard time getting over it, and that I also am trying to find meaning in my pathetic, stupid life and that I also often think the whole thing is a ridiculous farce and that the only intelligent response to it is suicide but that I pull back from that conclusion because it creates a certain onus that is unpalatable? Like you’re fucking Virginia Woolf or one of those guys, way too cool to live or too smart or too in tune with the tragedy of it all or whatever, you want to create some bullshit legacy for yourself as brilliant and doomed—

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