How Insensitive by Russell Smith. Porcupine’s Quill, 258 pp. 0-88984-143-8.
I’m late to the party on this one; the book was published in 1994, and thanks to my usual literary time warp, I’m only reading it now. But it raises some questions that are interesting enough to post here, not least of which is whether Smith would like to forget ever having that hairstyle. I’ll bet he’s glad this edition’s out of print.
I’m sorry. That was insensitive of me.
How Insensitive, as it follows the travails of a young man in the big city, wandering drunkenly from one party to the next, meeting models, and so on, all in the early 1990s, reminded me strongly of Jay McInerney. Except that, I hasten to add, it reminded me of Jay McInerney when Jay McInerney was good. That is, the McInerney of Bright Lights, Big City, not the disappointing McInerney of Brightness Falls and then The Good Life.
I hasten to that particular clarification because, unlike the later McInerney, whose pages are clogged with exposition and whose prose is often simply mundane, Russell Smith’s sentences crackle along. His dialogue is good and he never succumbs to the urge to go back and explain things for the sake of the dopey reader. How Insensitive is sharp and funny, and its nomination for the GG was well deserved.
So I find myself wondering why McInerney became a big success, while Smith remains, in the class photo of Canadian novelists, in the second row, behind Atwood and Ondaatje and all the other popular kids, but in front of Whatshername and Whothehellisthat. It’s certainly not for lack of a good book.
I could chew on that one for a good long while. Is international success (Atwood, Ondaatje, Munro) a prerequisite to being invited to all the best parties? Does this usually spring from domestic success, as in the case of Annabel Lyon or Rawi Hage, who got shortlisted for everything in sight, or Joseph Boyden? And if the big awards are, in fact, the kingmakers of Canadian literature, then why do they continually elude funny books, books with contemporary settings, and so on? Do Canadian readers not like these things?
The questions that come to mind, then, are the same old questions.
The answer may be simpler. How Insensitive is, in Canlit, an outsider book, because Canlit prizes the outsider. Cape Breton, with approximately 0.5 % of the Canadian population, provides some 37.94 % of our literary settings; the remainder are provided by the likes of Moose Factory, Neepawa, and Dungannon. Canlit is all about the marginalized, and How Insensitive is not.
Oh, sure, Smith tries to fit in, by making Ted Owen a Maritimer by way of Montreal, and therefore an outsider in Toronto, but the fact remains that this is a novel about a straight white male in Toronto, who commits the terrible crime of insensitivity to the plight of cattle and thus falls afoul of right-thinking Canadians everywhere, or at least, right-thinking Canadians on the editorial board of a little magazine.
One of the things Smith’s satire exposes, I think, is Canlit’s distaste for satire. In short, this is a novel, at some level, about itself.