I’m not leaving. I hope! Holding on, hanging in, so far. Esteemed filmmaker friends Charles Wilkinson and Tina Schliessler are currently working on No Fixed Address, a documentary about Vancouver’s housing crisis, though they refer to it as a “housing situation.” Call it what you will, I’m determined to remain in my beloved Vancouver, though I’m not sure how. My son and I are paying $1250. a month for a one-bedroom apartment in East Vancouver, just off Commercial Drive, reasonable apparently, though I wish I could reduce our living expenses. Even with some help and while working my ass off, we are barely scraping by. Because the cost of living is high too. If only we could quit eating. Sharing such a small space is getting old as well but at least Junior has an exit plan. I don’t.
I love this neighbourhood. It’s where I launched as an artist, sharing a funky, rambling house with band mate and Zellots drummer Conny Nowe near 34th and Victoria. $400. a month bought us a yard, driveway, fireplace, kitchen, dining room, pantry and four bedrooms. The scene of many festivities, we converted the basement into a rehearsal space. My boy was born in another funky East Van pad near 1st and Victoria 22 years ago. I’ve lived in this city most of my adult life, resent the fact that I might be forced out. The property management company that runs my building insists that tenants sign a new lease each year wherein they raise the rent to whatever amount they like. At the rate of $50. per lease renewal I won’t be able to afford to stay. I’d like to settle, focus on work and writing but will need to move again in the not-too-distant future.
Many friends have already left, for the suburbs or even the prairies, especially if they want to own a home. I could go back to the suburbs-grew up in Cloverdale-but I’d be going back. I need to be near the ocean, the wild and fantastic ocean. Perhaps I could move to Horseshoe Bay, or Lions Bay, clean houses in West Van and North Van. But, of course, finding anything cheaper will be a major challenge, perhaps impossible.
We shall see. There’s always a trade-off. Can’t have it all, etc. “Things could be worse.” Sure I’ve endured tough times, times when I had no place to live or enough food to eat but I’ve always responded with, “Why can’t things be better?”
I am trapped but cannot stay. Can I? It’s a huge dilemma. I know I’m not alone and Vancouver is just the latest city to be affected. The problem is global in scale. No solace in that, nor solution. Which obviously, is what I need. Gawd help us all. Maybe none of it matters. These are the end times, I am told, and if so constitute a whole other can o’ worms/blog entry.
Working on the Zellots record with Jason Flower of Supreme Echo I’ve had to consider time’s inexorable march, how it treads upon our minds and bodies until nothing of us remains. Also, the folly of youth, the hubris of youth. We were so cavalier about the demo tape we were making, about the band we’d created and the songs we’d composed, cavalier to the point of losing the master and most cassette copies. Oh, and breaking up. We didn’t-perhaps couldn’t-appreciate what we had. The late Peter Draper did a stellar job, recording we fools in the basement of our house/rehearsal space near the corner of 34th and Victoria. I can’t recall where or how he mixed it but lucky for us Peter was a very talented guy. Also fortunately, Jason Flower is a hardcore music nerd, driven in fact to seeking us out and resurrecting our group despite scant traces of its existence. I get the impression it’s like a treasure hunt for Jason. In that spirit and though likely a long shot, we’re going to try to track down a copy of the Lenore Herb video for the launch party. No date yet but the new master is currently in the Czech Republic being pressed. I’m as excited as a teenager about to play her first gig!
In 2012 I had finally acquired both an agent and a publisher. Woo hoo! Both shall remain nameless because both turned out to be pretty much useless. The agent seemed to think my novel, The Town Slut’s Daughter belonged in the young adult genre and spent a year barking up the wrong trees while the publisher, in the throes of much upheaval, jerked me around. Apparently they didn’t go under after all, but oh well. In frustration and desperate for deliverance-after many long years of writing the damn thing-I decided to take the dreaded Amazon/Kindle route and set up Howe Sound Publishing, with the guidance of dear friend, historical novelist Carol Cram.
As a single working mother I have precious little time for book promotion but my girl is doing okay, consistently awarded 5 star reviews and in the top 13% of the contemporary urban fiction category. Neither have I had time to calculate exactly how many copies have sold; several hundred at least. I’ve made a few bucks and the whole experience is pretty much what I expected. It is what it is, as they say. Despite the challenges I am relieved The Town Slut’s Daughter is no longer languishing on my hard drive, that she’s been launched into the world. Also, DIY is very fitting, having come up with punk rock, the original independents. Well, in recent times; Proust, Beatrix Potter and James Joyce were but a few of the authors who also did it their way.
I’m no expert in the vagaries of self-publishing, can only speak from my experience but on Saturday I will be participating in the inaugural Indie Author Day at the Vancouver Public Library, to hawk some wares and talk with readers. Perhaps I will see you there.
Gawd. Lived here for nearly a year and the building across the street is still being built. Wish we could move. In any case, got my CV updated with the help of Tanya Van of Dollymomma Designs. I’m fortunate to have such kind and talented friends. It looks good and we got ‘er down to one page. Might as well apply for that treehouse-in-Switzerland residency. Dreaming is free after all.
“Honesty is not synonymous with truth.”-Vera Parmiga, The Departed
This book took a long time to write and the road to publication, arduous. I can’t recall exactly when I started but my son was around 6 or 7 and he is now 20. If I hadn’t been homeschooling a child with special needs, no doubt it would have taken less time but I often got discouraged and shelved it for years at a time. Finally in 2010 I went to Sage Hill Writing Experience to be mentored by award winning playwright and novelist Terry Jordan. I completed the manuscript. Then spent a couple of years, or wasted a couple of years, dealing with an agent who seemed to think the story was YA, and a publishing company in utter tumult until finally I got fed up and in punk fashion, went DIY. In feminist fashion, I will not be denied, set up Howe Sound Publishing and released The Town Slut’s Daughter on Amazon.
Seems to be a dirty word these days but this dialogue is an example of some of the book’s feminist ideals:
Fiona threw down three tickets to the St. Valentine’s Day Massacre emblazoned with Hit Someone You Love.
“Great!” said Rita. “What’s with all the misogyny? I thought the scene was supposed to be so egalitarian.” She grabbed the kettle. “Well, I suppose it is if you happen to be young, white and male.”
“Maybe we shouldn’t go.”
“Maybe we shouldn’t. Who is Transformer Productions, anyway?”
“I don’t know. Never heard of them. But it’s a great bill. Rabid, Pointed Sticks, SubHumans, K-Tels.” Angus was a hero for digging up a new venue, O’Hara’s, a derelict nightclub on the pier at the foot of Main. Fiona’s dad remembered it from when he was a young buck roaming the streets. “I wanna go. We gotta see the K-Tels.”
“Okay. Okay. We’re doing our bit to fight sexism, right? We play electric guitars.”
Rock-including punk rock- is a boys club.
A lot of the discussion around my book concerns whether it’s autobiographical or not, which I find irritating. Isn’t that inferring that I’m not capable of using my imagination? To invent? Well, writing is vexing on many levels but I don’t understand all this post modern fuss over genre. As hot as memoir is, I didn’t write a memoir because honestly, my life is not that exciting. And I maintain there is more truth in fiction. It grants one freedom. Maybe I’m a coward, for I do hide behind fiction, wear it like a veil, but it is also liberating. Though the The Town Slut’s Daughter is based on my life experiences-which grants it authenticity-the majority of the story is feigned. I can say unequivocally that I am not Fiona and Fiona is not I. (I fear she is smarter than I am. ) If you want reality, read my blog, One Life, at heatherhaley.com wherein I stated, “Our hunger for realism, hence the reality show phenomenon, and rise of the documentary fuel such expectations, pressure, to write a memoir. I never doubted my instincts, knew I was framing narrative within a novel. Works for me. Autobiographical novel also seems a contradiction in terms. Truth is relative and “honesty is not synonymous with truth.” Let the critics and pundits postulate ad nauseum, I need to focus on process.
I’ve taken an approach similar to EL Doctorow in Ragtime by blending real people and events with characters and things I’ve made up. As I told writer friend Justine Brown the other day, I chose to keep many of the band names because it would be difficult to conjure up better ones. DOA, Dead Kennedys, Dishrags, Subhumans, Devices, Rabid, Pointed Sticks, Young Canadians, and the Zellots, which was my first and all-female group-are portrayed along with various real life events. This scene is based upon the first time the Clash played Vancouver, at the Commodore. I idolized them and so did most of my punk rock comrades. We were thrilled to say the least. By the way, though the novel is in third person, we often we hear directly from Fiona, eves dropping in on her thoughts and feelings in first person. From part one-Girls With Guitars-it could have been titled Punk Rockers in Love. Not!
Does he do this she wondered? Conjure up last night, the things we did, feel an after-shudder? Waiting to see Emmett Hayes, was . . . agony! Fiona couldn’t eat. Think straight. Gawd I hate this! Half an hour late. Again. She diddled her guitar, scanned a book, traipsed back and forth to the fridge, swinging wildly between anger and anxiety. Why doesn’t he call? That dink! She could have gone with Rita and Shannon. She could have spent her hard earned cash on something besides a new silk bra and panties. That bastard. Then, still cursing, Fiona heard his obnoxious Porsche engine out front and relief coursed through her limbs. She barely resisted the urge to run to the car.
“Sorry I’m late,” he mouthed, the Clash’s I Fought the Law blasting from his Blaupaunkts. “Did you hear? The Clash came out and played soccer with us!”
“Yeah! Who won?”
“They did, of course. My shins are covered in bruises.”
Emmett yarded on the gears pinball wizard style. Soon they were pelted with fat raindrops. He pulled over immediately to put the top up. They cruised the block repeatedly in search of the safest parking spot for his precious steed of steel. At last they entered the fading art deco grandeur of the Commodore Ballroom, Emmett waving tickets at the doorman, breezing by security like a diplomat. Christ. He must have been left under a cabbage by mistake.Emmett surveyed the room, refusing Fiona’s hand.
“Fuck! Look at all the poseurs.”
Fiona spied Dennis across the room, stomach tilting at the reproach in his face. A young woman in a booth flanking the stage sat sneering.
“Emmett, who’s that girl glaring at us?”
He ignored the question, wandered off, Fiona following.
The Clash had an excellent DJ spinning a killer mix of ska, punk, reggae and dub. Fiona waved to Shannon and friends. The place was jammed with every die-hard in the city, slam dancing on its famous ballroom floor, originally designed to make any clodhopper hoof it like Fred Astaire. The Commodore had character all right and it was the perfect size. Fiona hated arena shows. The Dishrags opened. It was inspiring to watch fellow females wailing on guitar. They finished with a blazing rendition of London’s Burning. Next up, Bo Diddley. Emmett said the Clash brought the old guy along as a way to pay homage to one of rock and roll’s originators. Fiona shrugged.
“I’m too young for nostalgia.”
Unfortunately, the Powder Blues were his pickup band, old fart-guitar god wannabes and though playing with a legend, forced everyone to sit through a long, boring wank session.
“Fuck this. I wanna see the Clash!” Fiona was not alone in her sentiments.
Shannon walked over and pulled her aside. “See that girl? That’s Electra. One of Emmett’s girlfriends. He told her he was bringing her tonight.”
“Electra! Sounds like an Italian scooter.”
“She’s weird. Really mad, says she’s gonna beat the crap out of you.”
Laughing, they walked over to Emmett. He lowered his drink, deigned to look at them, insisting he hadn’t invited anyone but Fiona. Clouds of tension were gathering on the dance floor as well, burly security guards manning the barriers. Finally, the Clash emerged, a tidal wave of bodies surging forward, the band opening with I’m So Bored With the U.S.A, Emmett off the hook. For now.
Beer. You only rent it. Fiona ran to the bathroom between songs, in and out of a stall quickly. Electra appeared, strutted over and squinted up into Fiona’s face like a Pekinese.
“Hey bitch! Keep your paws off Emmett or I will kill you.”
Looking around, Fiona laughed. “Where’s the hidden camera? Hey, Eeeelectraaaa. I think you’d better stay away from Emmett.”
“Wanna fight about it?”
“Hah! I could squish you like a bug. Fuck off! This ain’t junior high, you know.”
What Electra lacked in size, she made up for in attitude, fueled by four-inch stilettos, garters, fishnets, black leather mini skirt, all of which had nothing to do with punk and everything to do with Emmett.
Electra spit at her. Missing her target—Fiona’s face—the gob splatted onto her clavicle. Fiona looked down. Nearly blind with fury, she handily hoisted Electra up by the lapels. Shannon barged in. Fiona slammed Electra into the wall, back of her head banging the paper towel dispenser. Electra yelped.
“You bitch. You fucking whore!”
Shannon grabbed Fiona by the arm. They walked out dogged by the undaunted Lilliputian. Fiona barreled over to Emmett.
“What were you thinking?”
“I told you! I didn’t ask her. She just assumed.”
Wee Electra was at the bar again, glowering.
“Get lost, you skanky broad!” Emmett hollered at her.
Snotty pose pierced like a balloon, Electra flumped away, people laughing in her wake.
“God Emmett you’re an asshole!”
“Hey, I brought you. What do you care?”
“I care because it’s the same way you treat me. Like shit!”
“Fuck this!” He walked away in a huff.
Fuck this all right! Fighting tears, determined to revel in this night to remember, Fiona formed two fists and shoved her way through the crowd, jabbing, elbowing, bashing. She glanced back. Emmett gone. Naturally. Though the faces on the floor were familiar, the horde formed one huge alien, reeking of stewed leather and body heat, Clash so loud they cloaked the clamor of thumping heart, roaring blood. Fiona was rammed. Hard. She heard the wind go out of her lungs, body boxed about as if by bulls. She slipped, nearly going down, floored by the vision of her fractured skull ground into the boards by dozens of tightly laced combat boots.I am too black in the heart to fall! She carved a line out of the crush to the foot of the stage, stared up at Simonon. He was perfect—angled cheekbones, mouth gaping open like a Lego-focused kid, long, lean muscles. An art student apparently, before hitching up with the Clash, couldn’t play a note till Mick Jones taught him. Like John Lennon. Must be a British thing, that link between art school and rock. So why did I let Trent talk me out of art school? Oh my God. Simonon! He’s looking right at me! Got a girlfriend, according to Shannon, some tart who writes for NME. Strummer strained against his Telly, snaking the mike stand with his body. Tossing his guitar onto his back, he leaned over the crowd, ranting, railing.Loose-kneed Mick Jones was running, leaping, boinging all over the stage, carving out notes with an axe, his golden Gibson Les Paul. Goofy booster Dennis vaulted onto the stage during Career Opportunities, ricocheting off amps and various Clash members, security goons giving Keystone Cops chase. Strummer even let Dennis commandeer the mike and bray out the chorus with him, Fiona feeling a twinge of envy.
Certainly I didn’t plan to become a poet. I didn’t grow up thinking, when I grow up I’m going to be a poet. But in essence, it is who I am. I wasn’t exposed to literature. My father read Popular Mechanics and my mother, True Confessions. Though, being an Irish queen of blarney, Corona could spin a mean yarn.
I didn’t get a degree. I dropped out of university and ran away to join the punk rock circus; sang, wrote songs and poetry which I performed in coffee houses and nightclubs. When I returned to Canada, in a fluky way, published my first collection, Sideways, with Anvil Press. Three Blocks West of Wonderland came out with Ekstasis Editions in 2009 so I’m not exactly prolific, though never cease writing. In a haphazard way, I’m becoming “widely anthologized;” Verse Map of Vancouver (Anvil), Rocksalt: An Anthology of Contemporary BC Poetry (Mother Tongue Publishing), Alive at the Center (Ooligan Press), FORCE Field: 77 Women Poets of British Columbia (Mother Tongue Publishing), The Wild Weathers; a gathering of love poems (Caitlin Press), The SpokenWord WorkBook (Banff Centre Press), Where the Nights are Twice as Long: Love Letters of Canadian Poets (Goose Lane Editions), The Other 23 1/2 Hours, What Your MFA Didn’t Teach You (Wolsak & Wynn), and the forthcoming Simon Fraser University’s Lunch PoemsAnthology. Is my approach irresponsible or irreverent? Due to a bad attitude perhaps and Sideways might be entirely appropriate.
I’ve worked in many genres; journalism/reviewer, non-fiction/blog, prose/novel and written several screenplays. I always go back to poetry. Or, come back to poetry.
Recently I completed a rough draft of my latest manuscript, Detective Work. Why? It’s in me, verse. And I have no idea how it got there.
Fed a germ.
Spooned flies out of yogurt.
Dislodged ants from the toaster.
Fought for blackberries.
Registered my feelings.
Last house on Husband Rd.
Prolific bamboo décor.
You can sit in a resin chair
Forever, white ones
Especially war strong.
Too late in the week now
To do anything nice.
Too late in our life spans
Though he’s still trying
To Xerox his ass,
Writing is vexing, on so many levels. I don’t understand all this post modern fuss over genre and grow weary of explaining that I did indeed imagine the story in The Town Slut’s Daughter. Naturally it’s inspired by life experience. Write what you know. Right? Which is all I wrote, which is why it’s authentic. If what I wrote was published as memoir, or creative non-fiction-whatever the hell that is- I would have been crucified, because I made stuff up, yet people refuse to believe my novel isn’t memoir. I can say unequivocally that I am not Fiona and Fiona is not I.
Our hunger for realism, hence the reality show phenomenon, and rise of the documentary fuel such expectations. Pressure. I say this because poet and writer Catherine Owen, whom I admire greatly, reviewed my book bemoaning in the main that I’d chosen to write fiction. Despite confusion over genre I never doubted my instincts, knew I was framing narrative within a novel. Works for me. I understand her yearning for just the facts but my life is not all that interesting, in reality. As Karl Ove Knausgård recently emphasized about his autobiographical novel, My Struggle, “It’s fictional even if it’s nonfictional. It’s not as if I’m trying to document anything. I’m looking for something within that material.” Autobiographical novel also seems a contradiction in terms and I know truth is relative. Let the critics and pundits postulate ad nauseum, I need to focus on process. If you want reality, read my blog. I’m getting good at making my life sound exciting.
Perhaps I am a coward, for I can wear it like a veil, but it is also liberating and I maintain there is more truth in fiction.
I do what I can. So here you go, this coming Tuesday/Wednesday, just for one day. Please enter if you would like to win a copy of my novel, recently reviewed in newspapers across Canada: “Haley has the gift of writing to suit her subject in all its raddled variety, from wired and jarring to lyrical and tragic.” Of course, you can always buy The Town Slut’s Daughterif you can’t wait.
You and I. We
Warm the cabin
With a fiesta.
Tortuous torch songs.
He who orchestrates touch
Who once handed me
My limping orders
Favours the melted
Cormorants black as cinder.
You ban air quotes. Kink.
I, fake railings. Balloon releases,
Especially for no occasion.
You inform me that yes
Some gingers are cold.
I confide that meanly handsome
Hot headed micks
Only made me think of We.
Lots of action on the HS Haley front! 2015 looks promising. Last summer poetry impresario and scholar Dave Eso contacted me regarding a Goose Lane Editions anthology of love letters by Canadian poets that he and Jeanette Lynes were co-editing called Where the Nights are Twice as Long. I was intrigued and he was interested in some Peter Trower letters that he’d found through his research. Dave asked if I had anything I’d like to contribute. My instinctive reaction was a resolute “No.” But as Pete’s friend and literary executor, I assisted for several months in procuring the Trower material. A peksy idea began to seep in; I do have amorous correspondence, stored away. I would have to read it again, in the process reliving the pain and heartache of John and mine’s implosion four years previous. Which I did. Naturally. ‘Cause I’m a sucker for romance, a glutton for punishment. I showed it Dave who was keen for it and here I sit six months later admiring this lush, hefty, gorgeous book. “Here are odes and lyric ecstasies, tirades and tantrums, pastoral comforts and abject horrors – all delivered with the vibrancy, wit, and erudition of our finest poets. Under the covers of Where the Nights Are Twice As Long, David Eso and Jeanette Lynes collect letters and epistolary poems from more than 120 Canadian poets, including Pauline Johnson, Malcolm Lowry, Louis Riel, Alden Nowlan, Anne Szumigalski, Leonard Cohen, John Barton, Di Brandt, and many others, encompassing the breadth of this country’s English literary history.” Kudos and congratulations Dave and Jeanette! I know how hard, and how long you’ve worked on this wondrous tome. Thrilled as I am to be included, I get squeamish at the thought of such intimacy on full display. But it will appeal to the voyeur I believe resides within us all.
Speaking of connections, I recently reconnected with a dear friend, one Mark Deutrom, musician/composer/producer extraordinaire. As Mark puts it: “I first knew Heather in what seems to be another life at this point – we were neighbors sharing some affinities in the existential miasma that was Hollywood at the dawn of Ronald Reagan’s so called “shining city on a hill”. Many years later, through the miracle of the Interweb, we are back in touch and have begun what will hopefully be the start of an adventure in the spoken word with accompanying soundtracks.” What I call AURAL Heather. Our first effort/collaboration is Voracious, written at the height of, and as a result of the mad affair depicted in the aforementioned anthology. I will select another poem in the next few weeks, record the voice-over, send it along to Mark, who happens to reside in Austin, Texas, and we will go from there. I’ll be doing a Twisted Poets reading in Vancouver Jan 29 which will help put me in the zone. I need to sing! Determined to incorporate some vocalizations into our next piece.
Last fall, in the midst of fervent Visible Verse Festival curating and preparations, a writer named Connie Kuhns got in touch regarding her article on Vancouver’s female punk rockers. I managed to answer her interview questions in time and it’s hot off the presses. “Geist 95 is on newsstands now! See the full Table of Contents and order this brand-new issue for only $6. Our loudest issue yet features punk, politics and feminism by Connie Kuhns; winners of the Tobacco Lit Writing Contest; David Albahari’s child-free neighbourhood; the Arctic photography of Bogdan Luca; Stephen Osborne on dog walking and story writing, and more!” The guitarist depicted on the cover in the foreground is Christine de Veber rippin’ it at one of our first Zellots shows at the Smilin’ Buddha, a couple of lifetimes ago.