I really enjoyed Jhumpa Lahiri’s collection too and the thing that struck me most about it, in comparison with The Meagre Tarmac is, Lahiri shows her Indo-American characters in rather stark contrast to their settings, emphasizing their cultural identities and ‘separateness’, whereas Blaise shows them as being more subtly blended into their environments–maybe more ‘Americanized’ or integrated. The intergenerational aspect is there, perhaps not as much conflict as comparison between generation’s expectations in a new setting. Hope this helps,

Cheers,
Dorryce

I also believe that if the writer can pull off an authentic characterization, voice and cultural surrounding in a story or novel, then what does it matter where the writer comes from? But I have also learned there is a larger debate out there about things like authenticity and authority — who has the necessary qualifications to talk about minorities, is a serious question among some, and the cultural sensitivities in minority groups is very real. The ‘experts’ seem to say that the authority resides with those who share the same language, particularly, or cultural background. This becomes less certain, I think, when distinct minority groups become part of more heterogeneous societies, such as in Canada when, it is assumed their language and traditions become mixed with more diverse ones.

Philip Marchand in his review http://tinyurl.com/3o5pvup referred to the ‘literary felony’ of cultural and voice appropriation but said that Blaise was justified, since his results were successful, but the word ‘felony’ has a lingering effect.

Other thoughts out there?

Cheers,
Dorryce

I’m glad you brought up the issue of appropriation of culture and voice. What do you think of this? The first time I heard this concept was in an essay by Margaret Drabble and I was shocked.

I question this concept because, as a writer I ‘appropriate’ all the time – culture, voice, gender, etc. If I can write in the voice of a gay male and do it well, who cares that I’m a straight female? No one I hope. It follows then, that if Clark Blaise has written in a voice and culture not his own – and has done it well – he should not be penalized. Pretend and fictionalize – ain’t that what we do?

Of course, we’re making assumptions here regarding The Meagre Tarmac. But since you brought it up, I’d love to know your thoughts.

Thanks for your comment. The Meagre Tarmac is an engrossing collection of stories and I think the best short stories do just what you say–leave the reader wanting more. I also wonder why it was left off the shortlist, and it occurred to me that the jury might have had problems with the appropriation of culture and voice, although I found Blaise was seamless in his descriptions and dialogue–it just wasn’t an issue. The fact that the collection has such a universal appeal simply won me over.

And, a belated thanks to Kevin for posting my review and making it possible for me to do this. The knowledge and expertise on this blog is impressive, and I’m grateful to add a piece to the quilt, as it were.

Cheers,
Dorryce

You’ve given me a distinct sense of the collection but I’m left wanting more. And that’s saying quite a bit, for as a rule I’m not a short story reader.

After your reading your review, KFC’s initial comments come back to mind. Given the challenging subject matter and form, it does sound like a book that got short-changed on the short-list. But hey, I’m no Giller Shadow figure!

Thanks for the riveting review.