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The Gum Thief: A Novel
The Gum Thief: A Novel
The Gum Thief: A Novel
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The Gum Thief: A Novel

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Douglas Coupland's inventive novel-think Clerks meets Who's Afraid of Virginia Woolf?-is the story of an extraordinary epistolary relationship between Roger and Bethany, two very different, but strangely connected, "aisles associates" at Staples. Watch as their lives unfold alongside Roger's work-in-progress, the oddly titled Glove Pond. A raucous tale of four academics, two malfunctioning marriages, and one rotten dinner party, Roger's opus is a Cheever-style novella gone horribly wrong. But as key characters migrate into and out of its pages, Glove Pond becomes an anchor of Roger's unsettled-and unsettling-life.Coupland electrifies us on every page of this witty, wise, and unforgettable novel. Love, death, and eternal friendship can all transpire where we least expect them...and even after tragedy seems to have wiped your human slate clean, stories can slowly rebuild you.
LanguageEnglish
Release dateJan 15, 2011
ISBN9781596917538
The Gum Thief: A Novel
Author

Douglas Coupland

DOUGLAS COUPLAND is a writer, visual artist and designer. He has published fourteen novels, three collections of short stories, and eight nonfiction books; has written and performed for England’s Royal Shakespeare Company; and is a columnist for the Financial Times and a frequent contributor to the New York Times. In 2015 and 2016 Coupland was artist in residence at the Paris Google Cultural Institute. In May 2018 his exhibition on ecology, Vortex, opened at the Vancouver Aquarium. Coupland is a member of the Royal Canadian Academy, an Officer of the Order of Canada, an Officer of the Order of British Columbia, a Chevalier de l'Ordre des Arts et des Lettres and a recipient of the Lieutenant Governor's Award for Literary Excellence.

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  • Rating: 5 out of 5 stars
    5/5
    Such a good read. This book should be sold in any good bookstores.
  • Rating: 3 out of 5 stars
    3/5
    This is probably a 3 1/2 to be fair..and I did find it enjoyable but at the same time it's a little defeatist and not written nearly as well or as insightful into humanity as Coupland has proven himself capable of. Still, I found some of these quotes memorable:


    p. 85 "Or maybe memories are like karaoke-where you realize up on the stage, with all those lyrics scrawling across the screen's bottom, and with everybody clapping at you, that you didn't know even half the lyrics to your all-time favourite song. Only afterwards, when someone is up on stage humiliating themselves amid the clapping and laughing, do you realize that what you liked most about your favourite song was precisely your ignorance of its full meaning-and you read more into it than existed in the first place. I think it's better to not know the lyrics to your life."

    p. 118 "..And then in the scrapbooking aisle, I see 79 cent sticker pads with little rainbows and unicorns that say DREAMS CAN COME TRUE! and it makes me want to cry the way we feed nonsense crap like this to kids, who are going to inherit a century of ugly wars started by people who died long ago, but who were sick and damaged enough to transmit their hatred down through the centuries. Dreams don't come true. Dreams die. Dreams get compromised. Dreams end up dealing meth in a booth at the back of the Olive Garden. Dreams choke to death on bay leaves. Dreams get spleen cancer."

    p. 134 "...the sensation that grief is like a werewolf that moves into your house one day and never leaves, and every time you open a door or round a corner, it's there, lying in wait."

    p.202 "It's as if to you, being alive is a prank that you're playing on the world."

    p. 237 "They're like a John Cheever novel. Except it's set in hell."



  • Rating: 5 out of 5 stars
    5/5
    I suspect I read this at just the right time. The characters are not necessarily different from Coupland's other works. And yet, the novel buried in this novel is different from Coupland's other work. There is an absurdity there that doesn't exist in the main storyline (a basic plot of disaffected youth, middle-aged angst, and life at Staples).

    But I think the real accomplishment here is the structure of the novel. We have a novel in diary form that also includes a novel in it. The fact that the characters in the diary-novel are just as compelling as the main characters is a testament to Coupland's skill. I was compelled by this book and find myself still contemplating the way it is put together. That may not excite some people, but as a writer I can't help but obsess over the structural marvel. This whole book could have fallen apart in the hands of a less skilled writer.
  • Rating: 4 out of 5 stars
    4/5
    This is not a book to read when you vave even the slightest doubt about where your life is leading you. But so are none of Coup's.

    I like the intricateness and conceit of ehe construction, and the quite funny parts. I'm rathers ill at ease with the existential despair, which rings all too familiar.
  • Rating: 3 out of 5 stars
    3/5
    Like all of Coupland's books I have read so far (Generation X, Microserfs, J-Pod, Generation A) he excels at engaging the reader in the dynamics of a disfunctional group of social misfits. The format of the characters writing to each other is interesting at first, particularly the relationship between Roger, Bethany and DeeDee. However, the issues of the characters and their development (and the novel Glove Pond) are less interesting than the literary riffing that Coupland indulges in. The book is more a game played with form than something which makes points about issues of modern culture and society. He does make these points, but he has made the same points in the same way before!
  • Rating: 4 out of 5 stars
    4/5
    -Two misfits find common ground and a unique, surreal friendship via unspoken words in Coupland's latest, a fine return to form. In the two years since his wife's (nonfatal) cancer was diagnosed, Roger Thorpe has devolved into a dejected, hard-drinking, divorced father and the oldest employee by a fair margin at Staples. A frustrated novelist to boot, Roger considers himself lost, continually haunted by dreams of missed opportunities and a long ago car accident that claimed four friends. His younger, disgruntled goth co-worker, Bethany Twain, one day discovers Roger's diary—filled with mock re-imaginings of her thoughts and feelings—in the break room. She lays down a supreme challenge for them both to write diary entries to each other, but neither is allowed to acknowledge the other around the store. Through exchanged hopes and dreams, customer stories, world views and cautionary revelations (time speeds up in a terrifying manner in your mid-thirties), the pair become intimately acquainted before things unravel for both. Running parallel to the epistolary narrative are chapters from Roger's novel, Glove Pond, which begins having much in common with the larger narrative it's enclosed in. While smacking of the pretentiousness that made JPod grating, this book’s unique format and lighter writing style made it a page turner. The author’s motivations are certainly questionable but this book was much fresher than his other work.
  • Rating: 5 out of 5 stars
    5/5
    The Gum Thief is if nothing else different. The style and pace of the novel is a bit wonky and offbeat, and that is what keeps it interesting. The strongest section of the book is when the main characters are communicating via notes back and forth. It serves as a great narrative for the story and feels fresh and introspective. The main characters are not overly inventive or strong, but the actually storytelling method makes the story very interesting.There is also the featured story within a story going on. This again provides a slightly more cryptic, but still interesting look at the main character's life. There also some oddball side characters that weave in and out of the story that provides some interesting moments. Overall, a fun and fairly light read.
  • Rating: 5 out of 5 stars
    5/5
    I loved this book. It made me laugh out loud like a crazy person in public, though I admit that the humor is dark. I love the way the novel folds in on itself--how you are never quite certain, from the moment it's revealed that one of the Bethany entries is fake, whether this entire narrative is "real" or another manuscript within a manuscript within a manuscript. I love Glove Pond, and I love the way the author pokes fun at serious literary writing (and writers!) and the sort of stereotypical subject matter. The bleakness of the Roger story and the ending was a perfect contrast to the final chapter, which I found hilarious (maybe because I'm a writer?) I see from other reviews that people find Coupland's other books superior to this, so I already have another on order. What an enjoyable read.
  • Rating: 4 out of 5 stars
    4/5
    I had given up much hope for Coupland after the last few books I read of his (though I haven't read in order so it could just the ones I picked out) but this book proved to be worth the buy. It has been the first book in awhile that has made me pause while reading it and sort out how I feel about conversations the characters have. It is a depressing read but littered with numbers of gems (buttering!)that picked me up when I was starting to look to hard at the bottle of pills nearby.
  • Rating: 4 out of 5 stars
    4/5
    I really liked this book, particularly the style in which it was written. I realize the epistolary format isn't exactly revolutionary, but it was perfect for this story, which follows the correspondence of a group of individuals who have become, to a certain extent, outcasts from society for a variety of reasons. I particularly liked how two of the characters who could interact face to face on a regular basis (Roger and Bethany, who work together) actively avoid each other in "real life," eschewing personal contact in favor of their missives to each other.However, I also think it's cool how these characters come together over the course of the novel. In the beginning, Bethany finds Roger creepy, and her mother wants Roger to stay away from her daughter. By the end, Bethany is writing such things to Roger as "you're the only one I can talk to," and her mother (DeeDee) is glad the two of them became friends.I also think it's really interesting how the characters reflect each other. On on hand you have Roger, a middle-aged guy who has gone through a number of life-changing events that, by his own admission, haven't really changed his life. Then you have Bethany, the 24-year-old Goth who goes through some pretty serious changes but doesn't know exactly why and also doesn't really understand or like the person she becomes. And she also remains self-centered throughout: even as she comes to rely on Roger, her letters always revolve around her own issues, even as he clearly has issues of his own and even kind of disappears for a while. She asks about him superficially, but it's really all about her. And I think that speaks to the theme that pops up occasionally about "intimacy vs. closeness." Intimacy may be a one-way street, whereas closeness requires reciprocity.And then there's the story within the story, Roger's novel, Glove Pond. This is Roger's outlet, his attempt at doing something more with his life. I like the way it kind of echoes and amplifies some of the things from the rest of the book, and also how it turns into the impetus for some of the things that happen in the characters' actual lives. It also serves as the basis for the ending, a smirk-worthy finish that seems totally appropriate.
  • Rating: 2 out of 5 stars
    2/5
    Another solid Coupland novel. I have to say I found ir well written but unsatisfying. Well realised dysfunctional characters going through their lives, but with a lack of action or complex plot which fails to satisfy me. I know some people like this kind of thing, but definitly not for me.
  • Rating: 4 out of 5 stars
    4/5
    Coupland is one of those writers whose style I find utterly abhorrent and at the same time so hilariously accurate that I always end up impressed. What I mean is that this book reads terribly because it must – it is a terribly accurate portrayal of how the protagonists would write. It's only because Coupland somehow, without you even realising it, lets you understand every mind-numbing spirit-crushing moment of the character's lives, that you know you are actually reading a damn fine book. Even the complicated book structure of novels written by characters who are themselves characters, leaving you with multiple concurrent storylines, are reduced to almost infantile simplicity. I felt like I was reading a tabloid most of the time, only to find at the end that I'd actually been reading an accurate and brilliantly observed piece of contemporary literature. Like all of Coupland's characters who belong to generation X, Roger is perfect. The second main character, Bathany, is twenty years younger. Her character is not quite as believable. I appreciated the interplay of generations but somehow I don't think that Coupland really gets Gen-Y.
  • Rating: 5 out of 5 stars
    5/5
    I always feel a sudden sadness after finishing one of Douglas Coupland's books. A sort of empty feeling knowing the end has come.He's the only author I have read who can realistically depict humanity through writing. Other author's are good, but there is just something about the way he writes it. Every one of his books, especially The Gum Thief is like reading pages out of your own diary. Any one of the characters can be you.I fell in love with Bethany's character because we are the same age, and I can relate with her struggle with figuring out who she is. I love the way her story develops. It is so hopeful, yet so true to form.This book was very profound but in an everyday ind of way. It makes you think deeper about regular occurrences and thoughts you have all the time.
  • Rating: 3 out of 5 stars
    3/5
    A story within a story, this is a book about several individuals, linked through work at a Staples store, who exchange letters and stories. But also in the book is the story of a deeply disfunctional couple, written by one of the main characters - and it is this second, inner story that is the more compelling of the two. Overall the book was ok, but I would think it has strong appeal only for Coupland fans.
  • Rating: 2 out of 5 stars
    2/5
    I don't think that Douglas Coupland set out to write the worst book ever written, but it looks like he almost made it,. Coupland has been very successful writing about quirky characters trying to get by in a mundane life. This time he picks average people and they are a LOT less interesting. Like Joseph Heller in Something Happened, it is almost impossible to make the mundane actually interesting.Roger is a drunken, divorced writer working at Staples. He carries on a correspondence with Bethany, a twenty something slacker from a dysfunctional family who also works there. Together they write some of the most excruciating prose you have ever tried to read. Roger's Glove Pond is a trite rehashing of Who's Afraid of Virginia Woolf without the witty dialogue. Some of the essays on Toast are almost lyrical, but almost all of them are truncated snippets of good ideas never realized. In the end, the best you could hope for is that all of the characters would die. But they don't.
  • Rating: 4 out of 5 stars
    4/5
    While Douglas Coupland never ceases to surprise me with his wit and style, The Gum Thief takes on the epistolary novel in a way that only a literary innovator like Coupland can. The main characters, Roger and Bethany, are separated by a 20-year age gap, both stuck in dead end jobs at Staples, and don't particularly care for eachother when the book begins when their correspondence accidentally begins. But as the novel progresses - in Roger's Diary, letters to and from various characters, and a novel-within-a-novel - they come to find inspiration in eachother, which is perhaps cliche, but also touching.
  • Rating: 4 out of 5 stars
    4/5
    In Coupland's newest novel, Roger, a middle-aged, middle-class, morose clerk at Staples, and Bethany, a twenty-something lost soul begin to correspond and connect through journal entries, letters, and Roger's in-progress novel. For Coupland fans, these characters are the expected types – tired of the shallow and materialistic world in which they are inextricably caught, but capable of lyrical observation of the smallest beauty they feel disconnected from. It seems as Coupland ages, he uses form more carefully and thoughtfully. In this novel, the formal constraints work well – the thrown voices (through various narrative tricks), the interjection of Bethany's mom, the parodied novel-in-progress are well-executed and fun to read. This novel also engages in a lot of play and fun that hearkens back to some of Coupland's earlier works. However, like many of his novels, the book tends to lose steam at the end. Is it that Coupland loses interest in his characters or just doesn't know what to do with them once they have taken over the text? While not disappointing, and the author doesn't veer off into Romanticism as is often his temptation, the ending is not particularly satisfying either. The Gum Thief is a good read, fun, funny and heartfelt, but not Coupland's best work.
  • Rating: 4 out of 5 stars
    4/5
    (Reprinted from the Chicago Center for Literature and Photography [cclapcenter.com]. I am the original author of this essay, as well as the owner of CCLaP; it is not being reprinted here illegally.)Like many writers of critical reviews, I too sometimes think about the idea of one day penning an entire book-long series of essays about a particular artist -- and of all the artists in history that now exist, the one I'm perhaps most qualified at this point to write an entire critical book about would be Canadian author Douglas Coupland; I've read eight of his eleven novels now, the majority of them multiple times, along with a handful of his nonfiction books, all the short pieces he's ever published, and several hundred interviews with him that have been conducted over the last 17 years, not to mention a memorable experience actually meeting him in the year 2000. (In a nutshell, while at a Chicago reading he became obsessed with the fact that I'm deaf in one ear, and actually stopped his reading in the middle of it to ask me all these strange random questions about it.) And in this I don't think I'm too terribly different than a large group of other people my age; after all, it was Coupland who wrote 1991's Generation X, the book that literally coined the term for the generation (my generation), the first book to teach all of us that it was okay to dream of a different world than the trippy hairy mess our aging hippie bosses had created, that it is in fact a generational duty. I mean, sure, that single book eventually led us to an entire decade of unnecessary body scarification, Kevin Smith films, and drag queens hosting afternoon talk shows, but that's not Coupland's fault for writing the novel that started it all. Or is it? See, that's the kind of essay I'd write, if I ever wrote a book of essays about Coupland; and it'd be a cool book, too, I'm telling you!That's why I was looking forward to reading through his latest, 2007's medium-sized and easily digestible The Gum Thief; because the three novels of Coupland's that I haven't gotten to yet read, frankly, are the last three he's published (2003's Hey Nostradamus!, 2004's Eleanor Rigby and 2006's JPod), not for any particular aesthetic reason but merely because I've been permanently broke throughout the 2000s, so I've been happily anticipating getting caught up with his ouevre ever since opening CCLaP a little less than a year ago. And indeed, The Gum Thief finds Coupland in fine if not terribly exciting form, just as is the case with the majority of his books; it'll take most people just a few days to get through it, and it provides exactly a few days worth of entertainment, a good matchup even while not exactly soaring to the heights of his absolute best work (so in other words, this is no Microserfs). On the Coupland Scale of Weirdness, this definitely tips in on the dark, sad and bitter side; more Life After God than Shampoo Planet, more an examination of the endless failures of life than of its few successes. Because that's really the first thing to understand about Coupland, if you want a chance of deeply getting and enjoying his work; that he lives in this sorta little literary bubble of his own, where it's difficult to compare his plots and style and even way of working to any other writer except himself, and his books against any other books but his own. Coupland's world is a semi-surreal place but not a fully surreal one, a place where things just weird enough are always happening, events very much informed by popular culture and that are conveyed to us through the smooth, minimalist, elegant personal style that Coupland's past as an ad-agency copywriter has given him. It is not unusual within a Coupland story for time to stop, for apocalyptic events to take place, without any of these things being the main point of the story itself; Coupland's main point is always to examine the humanity inherent in each situation, even if it's a sometimes cold and irony-laced humanity that often has problems communicating with each other, and even if told in a much more clever and meta way than most character dramas are.This is certainly the case with The Gum Thief; it is primarily the story of Roger, a middle-aged alcoholic who has just gone through a series of personal crises (divorce, death of a child, loss of a job), which now find him living in a basement studio apartment in a large anonymous city, sneaking vodka into his new day job as a clerk at office-supply store Staples just in order to make it through each soul-crushing day. Yeah, welcome to Coupland's world, chump! Because that's the thing that's often forgotten about his work, especially by his critics, or not even mentioned in the first place; that when Coupland is in a bad mood, he can be one of the most pathos-infused writers of our generation, painting portraits of human hopelessness and moral weakness that on the bleak scale fall just short of Russian epics about suicidal madmen in winter. The Gum Thief isn't a pleasant book, it isn't a pleasant book at all; it's a relentlessly grim and dour book, in fact, one that wallows in all the filth and garbage of the usual world, hoping merely that the fates of the various losers we meet along the way are somehow just a little bit better by the end, since "good" is too optimistic a fate to hope for.Because that's the other thing; as the story continues, of course, Roger ends up gathering a host of deeply flawed characters around him as well, all because of a notebook he accidentally leaves in the store's breakroom one day, in which he is writing new fictional character sketches based on his real co-workers and half-heartedly contemplating taking up the challenge again of becoming a published author. It's because of this notebook and these fictional character studies that he then comes to the attention of co-worker Bethany, an overweight goth girl in her early twenties who unfortunately had a plethora of friends and relatives accidentally die around her during childhood. This, then, has left Bethany unsure of herself, sarcastic and bitter about life, unable to trust or love the people around her; so in other words, a perfect match and foil for Roger, someone who starts leaving snotty rambling letters in his notebook that admonish him to never acknowledge them out loud to her while actually on the clock at the store.This then leads us to the main crux of the novel, which as usual with Coupland is a bit difficult to describe but enjoyable nonetheless. For example, partly this is about the growing complex relationship between Roger and Bethany, the way that their unspoken correspondence very slowly helps push each other to a point of awareness and healing they weren't at before. But also this is about the relationship between Roger and Bethany's mother DeeDee, yet another emotionally-scarred loser who it turns out had actually gone out with Roger on an dual-alcoholic date in the past, and who starts adding her own letters to the correspondence after finding out that Bethany and Roger have started conversing. But then, this is also the story of the new novel that Roger has been inspired by Bethany and DeeDee to sit down and finally write, a dreadful "comedy" called Glove Pond that is a transparent ripoff of Edward Albee's Who's Afraid of Virgina Woolf?; and it's not just the story of the novel itself (large chunks of which are interspersed among the letters), but also how the people around him react to the novel, with to us it being pretty obvious that the novel is awful but with Bethany and DeeDee impressed because of neither being familiar with the Albee original. And because of all this literary trickery, of course, the book ends up becoming something else as well -- a meta story, that is, a story about stories about stories about stories, with there in actuality being hardly any "real" dialogue in The Gum Thief at all, but rather an entire manuscript's worth of letters and emails and office memos and diary entries and novel excerpts and the like.Now to be fair, there is also a fair dose here of all the things Coupland's critics complain about as well: over-reliance on pop-culture references, for one good example, a glib irony-worshipping writing style that is sure to turn a lot of people off right from the start. And Lord, don't even think about turning to a Coupland novel and expecting some sort of grand message, but rather be ready for a small story about small people that ultimately only says small and quiet things; this is why Generation X became as cultishly huge as it did, after all, is because Coupland never set out to write a book about an entire generation in the first place, but has admitted many times in interviews that he expected no one besides his own circle of friends to understand the point of the book at all. This is the sort of attitude you need to have about Coupland going into his novels, in order to truly appreciate them in a deep way; you need to see them as simple stories about specific people, but who by extension are then telling big stories about all of us in an untold way. And you need to go with Coupland down that road to get there, need to keep thinking about his ideas after the book itself is done; when you do this, he becomes much more than a MTV-friendly pop-culture guru, but actually a sophisticated chronicler of the human condition. That's why I keep reading Coupland and keep enjoying Coupland; it's why I ultimately recommend The Gum Thief as well, even though it will clearly never be thought of as one of Coupland's best.
  • Rating: 5 out of 5 stars
    5/5
    Executed in the form of letters between the main characters, similar to Coupland's Hey Nostradamus, but much tighter more compelling story, perhaps because there is no agenda behind it. It is simply another story of "small lives", something the author has captured better than most contemporary authors. The pacing is excellent and Glove Pond, the novel within this novel, is tears to my eyes funny. My only disappointment came with the ending, as the book wrapped up, the tone and pace changed slightly, rushing to close a story arc in a way that was unsatisfying for me.
  • Rating: 5 out of 5 stars
    5/5
    OK, cards on the table. I love Coupland's writing. He'll never be a storyteller, but what the hell, storytellers are hardly in short supply. I love him for his inventiveness, occasionally staggeringly poetic sentences, and the fact he creates characters and relationships that I actually care about.Gum Thief is typical Coupland, and I loved it. If you like Coupland you'll love it too, and if you don't (like virtually all critics!) it won't change your mind.Gum Thief has more in common with the more mature Hey Nostradamus and Eleanor Rigby than his last book JPod, charting the unlikely relationship (carried out exclusively through journals and letters.) between two Staples enployees - an alcoholic 40 something (Roger) and and 20 something Goth (Brittany). Roger is writing a novel, Glove Pond, and a good third of the book is actually Roger's novel. Coupland pulls of an amazing trick, making Glove Pond both complete rubbish and utterly compelling. Glove Pond is a story of two writers, and contains extracts of their novel, so we got a novel within a novel within a novel. Contrived or inventive? I go for the latter.If you've never read any of his work this is as good a starting place as any.
  • Rating: 3 out of 5 stars
    3/5
    Coupland's books are never boring, but after the vitality and invention of JPod this felt tired and the supporting structure of the (admittedly frequently amusing) failed Cheeveresque novella to me felt suspect. I found that and the omnipresent fragementation of the novel as a whole stretched my ability to connect.
  • Rating: 4 out of 5 stars
    4/5
    It's sadder and more grown-up than JPod. But it's also more intricate with stories within stories.

Book preview

The Gum Thief - Douglas Coupland

The Gum Thief

a novel

Douglas Coupland

Contents

Cover

Title

About the Author

By the Same Author

Imprint

Q: Brother, are you headed home?

A: Brother, aren’t we always headed home?

—Question used by Masons to identify themselves among strangers

Roger

A few years ago it dawned on me that everybody past a certain age—regardless of how they look on the outside— pretty much constantly dreams of being able to escape from their lives. They don’t want to be who they are any more. They want out. This list includes Thurston Howell the Third, Ann-Margret, the cast members of Rent, Václav Havel, space shuttle astronauts and Snuffleupagus. It’s universal.

Do you want out? Do you often wish you could be somebody, any, body, other than who you are—the you who holds a job and feeds a family—the you who keeps a relatively okay place to live and who still tries to keep your friendships alive? In other words, the you who’s going to remain pretty much the same until the casket?

There’s nothing wrong with me being me, or with you being you. And in the end, life’s pretty tolerable, isn’t it? Oh, I’ll get by. We all say that. Don’t worry about me. Maybe I’ll get drunk and go shopping on eBay at eleven at night, and maybe I’ll buy all kinds of crazy crap I won’t remember I bid on the next morning, like a ten-pound bag of mixed coins from around the world or a bootleg tape of Joni Mitchell performing at the Calgary Saddle-dome in 1981.

I used the phrase a certain age. What I mean by this is the age people are in their heads. It’s usually thirty to thirty-four. Nobody is forty in their head. When it comes to your internal age, chin wattles and relentless liver spots mean nothing.

In my mind, I’m always thirty-two. In my mind, I’m drinking sangria beachside in Waikiki; Kristal from Bakersfield is flirting with me, while Joan, who has yet to have our two kids, is up in our hotel room fetching a pair of sunglasses that don’t dig into her ears as much. By dinnertime, I’m going to have a mild sunburn, and when I return home from that holiday, I’ll have a $5K salary bonus and an upgraded computer system waiting for me at my office. And if I dropped fifteen pounds and changed gears from sunburn to suntan, I could look halfway okay. Not even okay: hot.

Do I sound regretful?

Okay, maybe a bit.

Okay, let’s face it—I’m king of the exit interview. And Joan was a saint. My curse is that I’d rather be in pain than be wrong.

I’m sad at having flubbed the few chances I had to make bold strokes in life. I’m learning to cope with the fact that it was both my laziness and my useless personal moral code that cheated me out of seizing new opportunities. Listen to me: flubbed chances and missed opportunities: I gloss past them both in almost the same breath. But there was no gloss when it was all coming down. It’s taken me what—five years?—to simply get used to the idea that I’ve blown things. I’m grieving, grieving hard-core. The best part of my life is gone, and what remains is whizzing past so quickly I feel like I’m Krazy-Glue’ed onto a mechanical bull of a time machine.

I can’t even escape in my dreams. My dreams used to be insulated by pink fibreglass, but maybe two jobs ago my sense of failure ripped a hole through the insulation and began wrecking them. I dreamed it was that Monday afternoon in the 1990s when my high school buddy turned vampire stockbroker, Lars, phoned me a week after my mother’s funeral—a week!—and told me to put everything and anything I might have inherited into Microsoft stock. I told him our friendship was over. I told him he was a parasite. And if Microsoft had sunk into the earth’s crust and vanished, I might have actually forgiven Lars, but that didn’t happen. Their sack-of-shit operating system conquered the planet, and my $100,000 inheritance from my mother, put into Microsoft, would currently be worth a smidge over $13 million.

I get the Microsoft dream about once a week now.

But okay, there’s some good stuff in my life. I love my spaniel, Wayne, and he loves me. What a name for a dog, Wayne—like he’s my accountant. The thing is, dogs only hear vowels. It’s a fact. When I call Wayne in for the night, he doesn’t hear the W or the N. I could simply yell out Ayyyyyyyyyy and he’d still show up. For that matter, I suppose I could also simply yell out Paaaaiiiiiiiiiiiin and he’d show up. At my last job, I told Mindy the comptroller how much I loved Wayne, and you know what she said to me? She said, Dogs are like people, except you can legally kill dogs if they bug you. Which makes you wonder—one household in three has a dog in it, but all they are (from the Mindy perspective) is semi-disposable family members. We need to have laws to make killing dogs illegal. But what about cats? Okay, cats, too. What about snakes? Or sea monkeys?

I draw the line at sea monkeys. I draw lines everywhere. It’s what makes people think I’m Mister Difficult. For example, people in the ATM machine lineup who stand too far away from the dispenser forfeit their right to be next in line. You know the people I mean—the ones who stay fifty feet away so they don’t look like they’re trying to see your PIN number. Come on. I look at these people, and I think, Man, you must feel truly guilty about something to make you broadcast your sense of guilt to the world with your freakish lineup philosophy. And so I simply stand in front of them and go next. That teaches them.

What else? I also believe that if someone comes up behind you on the freeway and flashes their lights to get you to move into the slow lane, they deserve whatever punishment you dole out to them. I promptly slow down and drive at the same speed as the car beside me so that I can punish Speed Racer for his impertinence.

Actually, it’s not the impertinence I’m punishing him for, it’s that he let other people know what he wanted.

Speed Racer, my friend, never ever let people know what you want. Because if you do, you might as well send them engraved invitations saying, Hi, this is what I want you to prevent me from ever having.

Bitter.

I am not bitter.

And even if I was, at least if you’re bitter you know where you stand.

Okay, that last sentence came out wrong. Let me rephrase it:

At least if you’re bitter, you know that you’re like everybody else.

Strike that last effort, too. How about: At least if you’re bitter, you know that you’re a part of the family of man. You know that you’re not so hot, but you also know that your experience is universal. Universal is such a great word. You know that we live in a world of bitter cranks—a world of aging bitter cranks who failed and who are always thirty-two in their own heads.

Failures.

But bitterness doesn’t always mean failure. Most rich people I’ve met are bitter too. So, as I say, it’s universal.

Rejoice!

I was once young and fresh and dumb, and I was going to write a novel. It was going to be called Glove Pond. What a name— Glove Pond. I don’t remember the inspiration, but the words have always sounded to me like the title of a novel or movie from England—like Under Milk Wood, by Dylan Thomas—or a play written by someone like Tennessee Williams. Glove Pond was to be populated with characters like Elizabeth Taylor and Richard Burton, movie stars from two generations ago, with killer drinking problems, teeter-tottering sexuality and soft, unsculpted bodies—from back before audiences figured out that muscle tone, not a press release, determines sexiness. Glove Pond’s main characters screamed and brawled and shrieked witty, catty, vicious things at each other. They drank like fish, screwed like minks and then caught each other in the act of screwing strangers like minks. At that point, they’d say even wittier things than before. They were wit machines. In the end, all the characters were crazy and humanity was doomed. The End.

I just googled Glove Pond and here’s what I got:

www.amateurmicroscopy.net. . . Index to Articles

. . . Part 1: Introduction and Webcam Modifications. If ever a subject and a method of recording that subject fit together like a hand in a glove, pond micro-critters and videomicrography are an ideal fit.

Look at this: no one has ever put the two words together before—a comma in between glove and pond doesn’t count as a true connection. So I still get dibs on Glove Pond!

Bethany

I’m the dead girl whose locker you spat on somewhere between recess and lunch.

I’m not really dead, but I dress like I want to be. There’s something generic about girls like me: we hate the sun, we wear black, and we feel trapped inside our bodies like a nylon fur mascot at a football game. I wish I were dead most of the time. I can’t believe the meat I got stuck with, and where I got stuck and with whom. I wish I were a ghost.

And FYI, I’m not in school any more, but the spitting thing was real: a little moment that sums up life. I work in a Staples. I’m in charge of restocking aisles 2-North and 2- South: Sheet Protectors, Indexes & Dividers, Notebooks, Post-It Products, Paper Pads, Specialty Papers and Social Stationery. Do I hate this job? Are you nuts? Of course I hate it. How could you not hate it? Everyone who works with me is either already damaged or else they’re embryos waiting to be damaged, fresh out of school and slow as a 1999 modem. Just because you’ve been born and made it through high school doesn’t mean society can’t still abort you. Wake up.

Let me try to say something positive here. For balance.

Staples allows me to wear black lipstick to work.

I was waiting for the bus this morning, and there was a sparrow sitting in the azalea beside the bus shelter. I looked at it and it yawned . . . this tiny little wisp of heated sparrow yawn breath rose up from the branch. And the thing is, I began yawning too—so yawning is contagious not only from person to person, but from species to species. How far back was it that our primordial ancestors forked into two directions, one that became mammals and one that became birds? Five hundred million years ago? So we’ve been yawning on earth for half a billion years.

Speaking of biology, I think cloning is great. I don’t understand why churchy people get so upset about it. God made the originals, and cloning is only making photocopies. Big woo. And how can people get upset about evolution? Someone had to start the ball rolling; it’s only natural to try to figure out the mechanics of how it got rolling. Relax! One theory doesn’t exclude the other.

Yesterday this guy from work, Roger, said it was weird that we human beings, who’ve evolved way more than anything else on earth, still have to share the place with all the creatures that remain unevolved, like bacteria and lizards and bugs. Roger said human beings should have a special roped-off VIP section for people only. I got so mad at him for being such an ignorant shit. I told him that roped-off VIP areas do, in fact, exist, and they’re called parking lots—if Roger wanted to be such an environmental pig about things, he should go stand in the parking lot for a few days and see how much fun that is.

Calm down, Bethany. Look out the window.

I’m looking out the window.

I’m going to focus on nature. Looking at plants and birds cools my brain.

It’s late afternoon right now, and the crows, a hundred thousand of them from everywhere in the city, are all flying to roost for the night in their mega-roost, an alder forest out on the highway in Burnaby. They go there every night, and I don’t know why. They’re party animals, I suppose. Crows are smart. Ravens are smarter. Have you ever seen a raven? They’re like people, they’re so smart. I was fourteen and collecting seashells up the coast one afternoon, and a pair of ravens landed on a log beside me and followed me around the beach, hopping from log to log. They were talking to each other—I mean chatter-chatter talking—and they were obviously discussing me. Ever since then, I’ve firmly believed that intelligent life exists everywhere in the universe; in fact, the universe is designed specifically to foster life wherever and whenever possible.

I also think that if ravens lived to seventy-two instead of seven, they’d have conquered the planet millions of years ago. They’re that smart. Raven intelligence evolved differently than human intelligence, but it still reached a human place. Aliens may well think and behave like ravens or crows.

And a final thing about crows—I had no idea I’d be going on like this—is that they look black to us, but to birds, they’re as insanely coloured as parakeets and peacocks— human colour perception is missing a small patch of the spectrum that only birds can see. Imagine if we could see the world like birds, even briefly. Everything would be wondrous. Which is another reason why I only wear black. Who knows what you’re missing when you look at me.

It’s five minutes later.

My mother called and asked if I would consider going with her to visit the Hubble Telescope in California. I thought the Hubble was in outer space, but it turns out it has a twin, in Yreka, in northern California.

My mother said people who didn’t believe in anything had visited the telescope and it had made them proud to be alive. She said that, instead of the stars being these mean, cold, bleak little jabs of white light, the universe was like a vast, well-maintained aquarium. The stars weren’t points of light, but angel fish and jellyfish and sea horses and anemones. And I thought about it, and damn the woman, she’s right.

I told her that people always treat me like an alien; I’ve always expected to be treated as such, and it’s not a very glamorous sensation.

This, naturally, sparked a fight with Mom. Why can’t I try to fit in?

If I’m still wearing black lipstick at twenty-four, she ought to have abandoned hope of my ever normalizing.

After we hung up, I thought, what if she’d died right there on the spot, right at the end of that phone call. The last thing she ever would have said to me would have been, Imagine, Bethany, the universe is indeed a beautiful place. If you doubt me, go check for yourself.

Roger

Sorrow!

Sorrow is everywhere—a bruise that never yellows and never fades, a weed that chokes the crop. Sorrow is every old person who ever died alone in a small, shitty room. Sorrow is alive in the streets and in the shopping malls. Sorrow in space stations and theme parks. In cyberspace; in the Rocky Mountains; in the Mariana Trench. All this sorrow.

And here I am in the cemetery eating my lunch: baloney on Wonder Bread, too much yellow mustard, no lettuce or tomato, an apple and a beer. I believe that the dead speak to us, but I don’t think they do it with words. They use the materials they have at hand—a gust of air, a gold ripple on an otherwise still lake, or inside a dozing stem some sap is tickled and a flower blooms that would never have opened otherwise.

The sky rains and the world shines, tombstones like rhinestones, the grass like glass. There is a breeze.

Joan tried to be so matter-of-fact about it all when she got the news: cancer of the spleen. What the hell is a spleen? A spleen is a cartoon body part, not something a real person has, let alone something that gets sick and kills.

Joan tried to tell me that everybody who’s ever lived has had cancer lots of times—even a fetus gets cancer— except our bodies almost always get rid of it before it spreads. Cancer is what we call those bits our bodies fail to slough off. I found some comfort in that. It made cancer feel everyday and approachable. Universal. I wanted to reach inside Joan and pluck out the cancer—and maybe while I was there I’d remove gold coins and keys and tropical birds—and I’d show you the surprises all of us conceal within.

I think emotions affect your body as much as X-rays and vitamins and car crashes. And whatever it is I’m feeling right now, well, God only knows what parts of my body are being demolished. And I deserve it. Because I’m not a good person—because I’m a bad person who also happens to be lost.

Oh! To travel back ten years—to when I still thought of myself as a good person and before I realized I was lost. Every moment felt like I was getting away with something. Every moment felt like five o’clock quitting time. Paradise!

You know how I met Joan? I was coming back from lunch with Alex and Marty. I’d had three glasses of red, and I knew it wouldn’t be too smart to show up at the office—it was the tail end of the days when you could still plausibly drink during lunch and not immediately be suspended, and I didn’t want to push it—this was my third job in five years. So I pretended I had to pick something up from the dry cleaners. It was a sweater-optional weather day, and the sun came out from behind a cloud and I was standing on the corner of Seymour and Nelson in a wonderful liquid yellowness. I felt like I was being teleported into the sun, and the heat on my skin felt like music. Then the sun went behind the clouds, and I felt like I was locked inside an airliner’s bathroom. And then I closed my eyes and opened them again and across the street was a fortune teller.

What the hey!

So I walked over, laid down a five and said, Fill me in.

The fortune teller certainly wasn’t cultivating an

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