Items related to Consolation
Unusual book
"synopsis" may belong to another edition of this title.
About the Author:
Michael Redhill is the publisher and one of the editors of Brick, a literary magazine, and the author of the novel Martin Sloane, a finalist for the 2001 Giller Prize, and the short story collection Fidelity. He has also written four poetry collections, including Asphodel, published in 1997, and Light-Crossing, published in 2001. His most recent works for the theatre are Goodness and Building Jerusalem, winner of a Dora Award.
Consolation, Redhill’s second novel, was shortlisted for the 2007 Toronto Book Award. In an interview with the Edmonton Journal, he described how he was inspired by a real photograph taken in thirteen parts in the winter of 1856 as part of a campaign to entice Queen Victoria to choose the city as the capital of pre-Confederation Canada: “I knew there was something in the pictures I wanted to write about. But the more I scribbled things down, the more I began to recognize a resonance between that dead city, no stitch of which exists anymore, and modern Toronto. The attitude and striving is still prevalent.” He adds: “It’s a strange, self-loathing city that at the same time is constantly striving to be world class and noticed. The city never tends to think about its own needs; it thinks about what other people might find impressive.”
Michael Redhill lives with his partner and their two sons in France.
Excerpt. © Reprinted by permission. All rights reserved.:
Consolation, Redhill’s second novel, was shortlisted for the 2007 Toronto Book Award. In an interview with the Edmonton Journal, he described how he was inspired by a real photograph taken in thirteen parts in the winter of 1856 as part of a campaign to entice Queen Victoria to choose the city as the capital of pre-Confederation Canada: “I knew there was something in the pictures I wanted to write about. But the more I scribbled things down, the more I began to recognize a resonance between that dead city, no stitch of which exists anymore, and modern Toronto. The attitude and striving is still prevalent.” He adds: “It’s a strange, self-loathing city that at the same time is constantly striving to be world class and noticed. The city never tends to think about its own needs; it thinks about what other people might find impressive.”
Michael Redhill lives with his partner and their two sons in France.
Late summer, the August air already cooling, and some of the migrators are beginning south. Hear the faint booming high up against windows before sunrise, pell-mell flight into sky-mirrored bank towers. Good men and women collect them and carry their stunned forms around in paper bags, try to revive them. Lost art of husbandry. By the time the sun is up, the reflected heat from the day before is already building again in glass surfaces.
A man is standing by the lakeshore at the Hanlan’s Point ferry dock. Cicadas in the grass near the roadway, cars passing behind the hotel. The ferry rush hour is over already at 8:15, and the Hanlan’s Point ferry is the least frequent of them all, as it takes passengers to a buggy, unkempt part of the Toronto Islands. But it is the most peaceful ride, ending close to wilderness. The Duchess. He sees it departing for the city from its island dock, on the other side of the harbour. He stretches his arm out at eye level, like he once taught his daughters to do, and the ferry travels over the palm of his hand.
At the kiosk beside the gate he buys a Coffee Crisp, struggles with the wrapper. He hands it to a woman standing near him at the gate. “My fingers are useless,” he tells her.
She neatly tears the end of the package open. Such precision. Gives him the candy peeled like a fruit. “Arthritis?”
“No,” he says. “Lou Gehrig’s. Sometimes they work fine. But never in the mornings.”
She makes a kissing noise and shakes her head. “That’s awful.”
“I’m okay,” he says, holding a hand up, warding off pity. “It’s a beautiful morning, and I’m eating a chocolate bar beside a pretty girl. One day at a time.”
She smiles for him. “Good for you.”
The docks are two hundred and forty feet out from the lake’s original shoreline. Landfill pushed everything forward. Buildings erupted out of it like weeds. The city, walking on water.
All aboard. The woman who helped him with the chocolate bar waits behind him – perhaps politely – as he gets on, but says nothing else to him. There are only six passengers, and except for him they disappear into the cramped cabin on one side of the ferry, or go up front with their bikes or their blades slung over their shoulders. He stays on the deck, holding tight to the aft lash-post, watching the city slide away.
The foghorn’s low animal bellow. The ship moves backwards through the murky water fouled with shoes and weeds and duckshit. This close to the skyline, an optical illusion: the dock recedes from the boat, but tiers of buildings ranging up behind the depot appear to push forward, looming over the buildings in front of them. The whole downtown clenching the water’s edge in its fist.
The lighthouse on Hanlan’s Point has been there since 1808. It marks the beginning of the harbour, and in the days of true shipping, if the weather in the lake had been rough, the lighthouse signalled the promise of home. He can’t see it from the rear of the ferry, but he can picture it in his mind: yellow brick; rough, round walls. A lonesome building made for one person, a human outpost sending news of safety in arcs of light. A good job, he thinks, to be the man with that message.
Five minutes into the crossing, he removes a little ball of tin foil from an inside pocket and unwraps four tiny blue pills. Sublingual Ativan, chemical name lorazepam, an artificial opiate. Four pills is twenty milligrams, at least twice the normal dose. He puts them under his tongue and they dissolve into a sweet slurry, speeding into his blood through the cells under his tongue, the epithelia in his cheeks, his throat, up the mainline to his brain, soothing and singing their mantra. You are loved. He’s taken this many before, and ridden the awesome settling of mind and soul all the way down into a sleep full of smiling women, bright fields, houses smelling of supper.
Marianne is still at home, in bed.
He can see the whole city now, a crystalline shape glowing on the shoreline where once had been nothing but forest and swamp. After that, the fires of local tribes, the creaking forts of the French, the garrisons and dirt roads and yellow-bricked churches of the English and the Scots. It’s only overwhelming if you try to take it all in at once, he thinks, if you try to see it whole. Otherwise, just a simple progression in time. Not that far away in the past at all, even – the mechanisms that make it seem to be are simple ones. Just a change in materials, a shift in fashion.
This joyous well-being holds him. He doesn’t mind that it’s chemical: everything is chemical. Happiness and desolation, fear of death, the little gaps between nerves where feeling leaps. He holds tight to the lash-post and shimmies around to the front of it, drinking the moist air in ecstatic gulps. The vague slopings of the deck are transmitted to his brain as an optical illusion: the city pitching up gently and subsiding, up and down, his senses marvellously lulled. Water moving under the boat. Sky, city, blue-black lake, city, sky. The peaceful sound of water lapping the hull. He lets the swells help him forward and up. More air against him now, his thin windbreaker flapping, his mouth full of wind, the sound of a long, deep breath –
One
THE HARBOUR LIGHT
Toronto, November 1997
1.
Marianne held the phone to her ear and waited for her daughter’s voice. Outside the hotel window, the dark was coming earlier than it had the night before, a failing in the west. There was, at last, a slow exhale on the other end of the line: unhappy surrender.
“And you really wonder where Alison gets her drama gene?”
“She gets it from your father.”
“There’s a difference between passion and spectacle, Mum. This is spectacle.”
A man is standing by the lakeshore at the Hanlan’s Point ferry dock. Cicadas in the grass near the roadway, cars passing behind the hotel. The ferry rush hour is over already at 8:15, and the Hanlan’s Point ferry is the least frequent of them all, as it takes passengers to a buggy, unkempt part of the Toronto Islands. But it is the most peaceful ride, ending close to wilderness. The Duchess. He sees it departing for the city from its island dock, on the other side of the harbour. He stretches his arm out at eye level, like he once taught his daughters to do, and the ferry travels over the palm of his hand.
At the kiosk beside the gate he buys a Coffee Crisp, struggles with the wrapper. He hands it to a woman standing near him at the gate. “My fingers are useless,” he tells her.
She neatly tears the end of the package open. Such precision. Gives him the candy peeled like a fruit. “Arthritis?”
“No,” he says. “Lou Gehrig’s. Sometimes they work fine. But never in the mornings.”
She makes a kissing noise and shakes her head. “That’s awful.”
“I’m okay,” he says, holding a hand up, warding off pity. “It’s a beautiful morning, and I’m eating a chocolate bar beside a pretty girl. One day at a time.”
She smiles for him. “Good for you.”
The docks are two hundred and forty feet out from the lake’s original shoreline. Landfill pushed everything forward. Buildings erupted out of it like weeds. The city, walking on water.
All aboard. The woman who helped him with the chocolate bar waits behind him – perhaps politely – as he gets on, but says nothing else to him. There are only six passengers, and except for him they disappear into the cramped cabin on one side of the ferry, or go up front with their bikes or their blades slung over their shoulders. He stays on the deck, holding tight to the aft lash-post, watching the city slide away.
The foghorn’s low animal bellow. The ship moves backwards through the murky water fouled with shoes and weeds and duckshit. This close to the skyline, an optical illusion: the dock recedes from the boat, but tiers of buildings ranging up behind the depot appear to push forward, looming over the buildings in front of them. The whole downtown clenching the water’s edge in its fist.
The lighthouse on Hanlan’s Point has been there since 1808. It marks the beginning of the harbour, and in the days of true shipping, if the weather in the lake had been rough, the lighthouse signalled the promise of home. He can’t see it from the rear of the ferry, but he can picture it in his mind: yellow brick; rough, round walls. A lonesome building made for one person, a human outpost sending news of safety in arcs of light. A good job, he thinks, to be the man with that message.
Five minutes into the crossing, he removes a little ball of tin foil from an inside pocket and unwraps four tiny blue pills. Sublingual Ativan, chemical name lorazepam, an artificial opiate. Four pills is twenty milligrams, at least twice the normal dose. He puts them under his tongue and they dissolve into a sweet slurry, speeding into his blood through the cells under his tongue, the epithelia in his cheeks, his throat, up the mainline to his brain, soothing and singing their mantra. You are loved. He’s taken this many before, and ridden the awesome settling of mind and soul all the way down into a sleep full of smiling women, bright fields, houses smelling of supper.
Marianne is still at home, in bed.
He can see the whole city now, a crystalline shape glowing on the shoreline where once had been nothing but forest and swamp. After that, the fires of local tribes, the creaking forts of the French, the garrisons and dirt roads and yellow-bricked churches of the English and the Scots. It’s only overwhelming if you try to take it all in at once, he thinks, if you try to see it whole. Otherwise, just a simple progression in time. Not that far away in the past at all, even – the mechanisms that make it seem to be are simple ones. Just a change in materials, a shift in fashion.
This joyous well-being holds him. He doesn’t mind that it’s chemical: everything is chemical. Happiness and desolation, fear of death, the little gaps between nerves where feeling leaps. He holds tight to the lash-post and shimmies around to the front of it, drinking the moist air in ecstatic gulps. The vague slopings of the deck are transmitted to his brain as an optical illusion: the city pitching up gently and subsiding, up and down, his senses marvellously lulled. Water moving under the boat. Sky, city, blue-black lake, city, sky. The peaceful sound of water lapping the hull. He lets the swells help him forward and up. More air against him now, his thin windbreaker flapping, his mouth full of wind, the sound of a long, deep breath –
One
THE HARBOUR LIGHT
Toronto, November 1997
1.
Marianne held the phone to her ear and waited for her daughter’s voice. Outside the hotel window, the dark was coming earlier than it had the night before, a failing in the west. There was, at last, a slow exhale on the other end of the line: unhappy surrender.
“And you really wonder where Alison gets her drama gene?”
“She gets it from your father.”
“There’s a difference between passion and spectacle, Mum. This is spectacle.”
"About this title" may belong to another edition of this title.
- PublisherArrow
- Publication date2008
- ISBN 10 0099466252
- ISBN 13 9780099466253
- BindingPaperback
- Number of pages480
- Rating
Top Search Results from the AbeBooks Marketplace
Stock Image
Consolation
Published by
Arrow 03/04/2008
(2008)
ISBN 10: 0099466252
ISBN 13: 9780099466253
Used
Softcover
Quantity: 1
Seller:
Rating
Book Description Condition: Very Good. This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping. . Seller Inventory # 7719-9780099466253
Buy Used
£ 3.16
Convert currency
Stock Image
Consolation
Published by
Arrow 03/04/2008
(2008)
ISBN 10: 0099466252
ISBN 13: 9780099466253
Used
Softcover
Quantity: 1
Seller:
Rating
Book Description Condition: Very Good. Shipped within 24 hours from our UK warehouse. Clean, undamaged book with no damage to pages and minimal wear to the cover. Spine still tight, in very good condition. Remember if you are not happy, you are covered by our 100% money back guarantee. Seller Inventory # 6545-9780099466253
Buy Used
£ 3.16
Convert currency
Stock Image
Consolation
Seller:
Rating
Book Description Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present. Seller Inventory # M00099466252-G
Buy Used
£ 3.02
Convert currency
Stock Image
Consolation
Published by
Random House
(2008)
ISBN 10: 0099466252
ISBN 13: 9780099466253
Used
Paperback
Quantity: 1
Seller:
Rating
Book Description Paperback. Condition: Very Good. 469 pages. It is 1856, Toronto. Unable to make a living in th e New World from his trade, English apothecary J.G. Hallam takes up the new science of photography, and embarks on a grand project to document the bleak young city. But returning from an exhibiti on of these images in England, Hallam's ship is lost in a violent storm on Lake Ontario - and the strongbox holding the photograph s is lost. Over a century and a half later, and the shoreline o f the harbour has shifted dramatically. Professor David Hollis sp eculates that the sunken ship containing this important historica l record lies in the landfill where the city's new Union Arena is to be built. But his findings are met only with howls of derisio n from his colleagues. Three months later, Hollis is dead - and his grieving widow, Marianne, embarks on a furtive, unsettling q uest to vindicate her husband. From her hotel room overlooking th e excavation site where the arena is to stand, she watches and wa its for a piece of the past to reappear that might alleviate the anguish of these civic and private vanishings. Exquisitely cr afted and masterfully told, Michael Redhill's haunting new book m oves seamlessly between Toronto's past and present, depicting the way time alters the contours of even the things we hold most cer tain. Seller Inventory # 2387i
Buy Used
£ 3.92
Convert currency
Stock Image
Consolation
Seller:
Rating
Book Description Paperback. Condition: Used; Good. Dispatched, from the UK, within 48 hours of ordering. This book is in good condition but will show signs of previous ownership. Please expect some creasing to the spine and/or minor damage to the cover. Aged book. Tanned pages and age spots, however, this will not interfere with reading. Seller Inventory # CHL4348266
Buy Used
£ 34.96
Convert currency