Fiction Short Stories (single Author)
How Did You Sleep?
- Publisher
- Porcupine's Quill
- Initial publish date
- Oct 2000
- Category
- Short Stories (single author), Literary, Canadian
-
Paperback / softback
- ISBN
- 9780889842151
- Publish Date
- Oct 2000
- List Price
- $17.95
Classroom Resources
Where to buy it
Description
'Paul Glennon is a rare bird. You would never guess it from his photo on the final page of this debut collection. He stands quite ordinarily under a snowy spruce tree in what could easily be Ottawa, his home since 1975. Contextually Canadianized, he squarely faces the camera, quietly earnest and unthreatening. It's a perfectly expected portrait of a fledgling Canuck writer -- and perfectly misleading. This bird's song is complex, refreshingly impudent and previously unknown.'
About the author
Paul Glennon vit à Ottawa. Il est l’auteur du roman jeunesse Bookweird (Doubleday, 2008) et du recueil de nouvelles How Did You Sleep? (The Porcupine’s Quill, 2000) qui a été finaliste au Prix du livre d’Ottawa dans la catégorie « fiction de langue anglaise » en 2001 et finaliste au prix ReLit Award for Short Fiction la même année. The Dodecahedron, publié par The Porcupine’s Quill en 2005, a quant à lui été finaliste du Prix littéraire du Gouverneur général dans la catégorie « romans et nouvelles de langue anglaise » en 2006 et a été classé parmi les « 100 meilleurs livres de 2006 » par le quotidien The Globe and Mail.
Awards
- Short-listed, City of Ottawa Book Award
- Short-listed, ReLit Awards, Short Fiction
Excerpt: How Did You Sleep? (by (author) Paul Glennon)
Self-Loathing Stymies Council
Council met again last night in a last-ditch attempt to come to terms with the municipal self-loathing problem. Despite submissions from staff, the provincial government and community groups, council could not resolve the troublesome issue. 'We've done a lot of soul-searching, but everyone's so firmly entrenched, it's difficult to make any progress. Unless something changes we're at an impasse,' said Mayor Nolan Plunge after the meeting.
Little was achieved by the night's disputations. It was a night like too many others before it. No viable alternatives to busing or dumping of despair emerged, but these initiatives remain confounded by not-in-my-backyard attitudes and fears that a municipal self-loathing dump would depress local property values. Outside council chambers one long-time resident complained that, 'This has been going on for so long. They've done study after study and nobody's done anything about it. It's sickening. We're all really just fed up with the whole thing.'
At times the council chamber looked like it was hosting a shouting match rather than a debate on the Sisyphean nature of human existence. Many seemed satisfied with finding someone to blame. Some representatives accused the media of exacerbating the problem by magnifying the look of the other. One resident blamed the death of God, another the dissolution of role and identity. Most blamed themselves, but Mayor Plunge took his share of criticism. Perennial mayoral opponent Ann Opellung accused the mayor of grandstanding. Mayor Plunge, who campaigned last year on a ticket designed to appeal to voter apathy said that his own self-loathing was 'a Nessus's shirt' that he wore every day. He reacted bitterly when Opellung countered it was more like the emperor's new clothes. 'That's the worst of it,' the mayor responded sombrely, 'Our self-loathing is so self-important, so fashionable, so farcical, it only makes us more loathsome.' His confession seemed to settle the meeting down a bit, and opened the discussion for new ideas.
Conservatives on the council made a call for old-fashioned stoicism and self-reliance. Even while they acknowledged that this urge was nostalgic and embodied an outmoded positivistic view of the self, they felt it was important to do something --- anything. Mayor Plunge refused to be moved from his morass. 'I don't want to do something just for the sake of doing something. Nor do I just want to spend our way out of the crisis. There must be a plan, a purpose.'
But neither he nor anyone else in the room was able to supply this purpose. Though travel and personal journeys were put forward, there was no broad support for this solution. 'Really, it's just exporting the problem,' explained local ennui activist Pol Nolngen. 'If the self is a burden in your laundry room or in the staff cafeteria, it will be just as much of a burden in Benares or Fort Lauderdale.'
Reacting to a suggestion that the business community take a more active role in the problem, a representative of the board of trade quoted figures from other jurisdictions where corporate sponsorship of self-loathing has been tried unsuccessfully. He showed a graph that demonstrated that corporations already contribute significantly to the economy of nausea and claimed that the market should be allowed to sort itself out. 'So far we've looked on it as a problem. I suggest we try to see self-loathing as an opportunity.'
Staff took advantage of the reflective mood that followed this comment to table their own proposal, but opposition to the so-called Annihilation of Consciousness plan was vocal. Members of a group calling themselves the Coalition for Persistence in the Face of Absurdity shouted down the distraught town planner when he protested that their petition was received after the deadline for public submissions. In the ensuing debate, a representative of the local Synchytic Religious Foundation read a letter signed by the bishop of the Roman Catholic archdiocese, the United Church moderator and the head of the rabbinical college expressing the hope that 'by looking to a higher meaning beyond the temporal and the individual we might see some hope of a way ahead.' This presentation was met with jeers, snickers and mock retching noises. As the debate descended into chaos, one resident even blamed the landscape, lamenting that the monotony and monoculture of lawns perpetuated a culture of sameness and dissatisfaction. He was dismissed by most present as a crank and fined for violating the pathetic fallacy bylaw.
It was early morning when the meeting finally broke up. Nothing was really resolved. Council, staff and attendees merely exhausted themselves with recriminations, unspoken hopes, false ideals and recollections of past failures. Councillors postponed the conclusion with points of order and routine business. Many waited for a rumoured appearance by the Norwegian performance art troupe Deus Ex Machina (literally 'Zeus's former Mechanic'). When it became clear that this much vaunted comic relief was not going to materialize, a final motion was passed to revisit the issue at the next meeting, the meeting dissolved, and the attendees drifted home to their beds and no doubt fitful sleep.
Editorial Reviews
'Paul Glennon is a rare bird. You would never guess it from his photo on the final page of this debut collection. He stands quite ordinarily under a snowy spruce tree in what could easily be Ottawa, his home since 1975. Contextually Canadianized, he squarely faces the camera, quietly earnest and unthreatening. It's a perfectly expected portrait of a fledgling Canuck writer -- and perfectly misleading. This bird's song is complex, refreshingly impudent and previously unknown.
'In One Hand, a man tries to piece together the final weeks of a friend's life from the scribbled notes he has left in an edition of Leonardo da Vinci's notebooks. The friend, having by his own admission not 'an artistic bone in [his] body,' borrows da Vinci's technique of using left-hand, mirror-image writing, in hopes that the left-hand/right-brain neural connection might stimulate his creative side. As his left-hand notes produce involuntary palindromes, anagrams and increasingly mysterious poetry, his right-hand, analytical prose tries to make sense of the psychical Pandora's box he's opened. The final left-hand note offers two riddles that explain the friend's untimely death.
'The Museum of the Decay of Our Love describes a scholar's visit to a Central American history museum. The tale hovers dreamlike between dry events and the inner sparks they ignite. The museum's inert displays, steeped in the mythology of conquest and revolution, become interior metaphors for the man's own failed ambition in love. What feels initially too schematic evolves into a subtle probing of how external things morph into symbols as they enter the mind. The award-winning title story offers a bracing and revealing reconception of a very mundane sort of domestic squabbling. Other tales amuse with their satirical quirks, or wrest attention with deft observation.
'In Self-Loathing Stymies Council, we meet Mayor Nolan Plunge, a grandstanding windbag who bleats to council that self-loathing is ''a Nessus's shirt'' he wears daily. In Chrome, we're treated to a fluid metallic world evoked with keen imagination and riveting detail.
'Glennon's charms have much to do with his originality, a willingness to veer from the safer formal path. Some stories feel overly glib or disappointingly contrived, and his repeated authorial winking is sometimes too obvious. But the eccentric and penetrating psyche at work here should not be missed.'
Globe and Mail
'In his first collection of short stories, How Did You Sleep? (Porcupine's Quill, 2000), Ottawa writer Paul Glennon eschews dirty realism and thinly-veiled autobiography for clever conceits and absurdly-extended metaphors. In one story, the president of a corporation is voted out of power by his executive board, which then votes unanimously to change him into a bear. In another, a man awakes to discover that his entire world appears to him as being made of chrome. Fiction which is funny and smart, without being either cloying or disposable, is a rare commodity in Canadian literature.'
Danforth Review
'Glennon, however, is an inspired and skillful writer. His rhythm is nearly flawless, and I ended up wishing he had written these as prose poems. ''Chrome'' is one story that is beautifully realized: a man awakes to find that everything has a sheen of chrome. The narrator's fascination leads him inward and away from people, towards (ironically) the almost hyper-delicious nature of the visual and sensual. Sometimes the surface of things has its compensations.'
Canadian Literature