The week leading up to the Superdad launch began this morning with Boing Boing's Cory Doctorow posting the first of what should be a couple of different reviews bound to run over the next little while. It's a complimentary review...
Shulgan, an accomplished Toronto magazine writer, was raised in a small Ontario town, and wore his ideals of masculinity on his sleeve: drinking his ass off, fighting, partying, snorting coke, smoking crack. His binges tied into an idea of wildness, of being "alternative" and authentic and not settling down to become a boring adult. (...)
The news of the pregnancy galvanizes two conflicting urges in Shulgan: on the one hand, the urge to settle down and step up to his responsibilities; on the other, the need to prove that he is still young, wild and free. Neither urge wins, and Shulgan manages to do both: acting the role of a sober dad-to-be while sneaking away to score crack, to go on all night, guilt-ridden binges that he almost completely hides from his wife...
When the baby comes, Shulgan's commitment to his family redoubles -- and so does his need to get high. What follows (the meat of the book) is a painful account of someone who can't break off his love-affair with self-destruction...
It's a relief, to hear the way Doctorow understood what I was trying to get across. Another relief: I've done a couple of interviews now, too, for pieces that will come out over the next couple of days, and on the whole the tone of the questions has been respectful but interested—in other words, the best I could have hoped. And even so, it's tough to get through them. It's tough to talk about this stuff, you know? It's tough to talk about the worst stuff you've done, the stuff that makes you hate yourself. Maybe it'll get easier over time.
One thing that is really helping me get through this week is a book I read on the plane ride home from Nepal — Black Swan Green by David Mitchell (#30 of 2010). I am obviously a bit late to the Mitchell bandwagon, so apologies for that, but holy crap it's an absorbing read that has stuck with me—no, has resonated with me, has been helping to bolster me through the inevitable self-analysis provoked by this week's interviews. "If you show someone something you've written," says one of Black Swan Green's characters. "[Y]ou give them a sharpened stake, lie down in your coffin and say, 'When you're ready.'" Yeah, that feels about right, this week.
There is a remarkable page-length bit where a pre-adolescent talks about his dad's alcoholism—and the section is enough to keep off booze forever anyone who struggles with this sort of stuff. I may print it out and frame it on the wall of my study. It's on page 100 of the paperback book: "'Tell you what it's like,'" the boy says. '"[I]t's like this whiny shitting nasty weepy man who isn't my dad takes my dad over for however long the bender lasts, but only I—and Mum and Kelly and Sally and Max—know that it isn't him. The rest of the world doesn't know that, see. They just say, Frank Moran showing his true colours, that is. But it ain't.' Moran twisted his head at me. 'But it is. But it ain't. But it is. But it ain't. Oh, how am I s'posed to know?'"
And then, toward the final third, this bit of Black Swan Green: "Secrets affect you more than you'd think," Mitchell writes. "You lie to keep them hidden. You steer talk away from them. You worry someone'll discover yours and tell the world. You think you are in charge of the secret, but isn't it the secret that's using you?"




