Those of you who are reading here now, but not reading Alistair MacLeod’s short stories, will probably only be interested in the first couple of paragraphs after this introduction. Feel free to skip past the section that I’ve titled The Underneath, written with those who know the story-or other writers curious about the mechanical elements of storytelling-in mind. If you’d like to join for a single story or for the duration, here’s the schedule for this reading project. Regardless, I hope you’ll enjoy reading about Alistair MacLeod’s stories, even if you weren’t planning to read them yourself.
On “The Boat”
As the opening story in this collection, “The Boat” sets the tone for what’s to come.
Just the first two sentences (quoted below) hold all of it, in these opening lines:
“There are times even now, when I awake at four o’clock in the morning with the terrible fear that I have overslept; when I imagine that my father is waiting for me in the room below the darkened stairs or that the shorebound men are tossing pebbles against my window while blowing their hands and stomping their feet impatiently on the frozen steadfast earth. There are times when I am half out of bed and fumbling for socks and mumbling for words before I realize that I am foolishly alone, that no one waits at the base of the stairs and no boat rides restlessly in the waters by the pier.”
First, there is memory and imagination—with words like ‘frozen’ and ‘shorebound’, ‘frozen’ and ‘steadfast’. All so solid. The kind of solid that needs a new word, like ‘shorebound’, which sits in contrast to the most important entity in the story, the sea.
In the second sentence, there’s reality. A contrasting state, with fumbling and mumbling (in a rhythmic structure that reminds us—if not now, then by the end of the tale—of waves and tides), with words like ‘alone’ and ‘foolish’ and ‘restless’. Barely there.
When people talk about writers who toil at the sentence-level, they mean writers like this. But I find MacLeod remarkable even among that group (sometimes called writers’ writers, as though the only other people interested in those stories are other writers) because a painstaking study of his craft is rewarding but his stories feel effortless, simple, and ordinary.
This is a story about big ideas and it’s also a story about a single fishing family in Cape Breton, Nova Scotia.
This is a story about tradition: the Gaelic settlers with their “savage melancholy of 300 years”, the fishermen’s morning ritual of walking to their boats, and the literary tradition represented by a parent’s love of literature.
And it’s a story about a father whose copies of noir detective stories and Dickens novels are well-read by all seven children in this east-coast family descended from fishers. A story about the youngest, and the only boy, who recognizes the truth of his father’s observation about David Copperfield, that the Pegottys love the sea.
Details about family life—childhood and marriage, catching and hauling, smoking and reading—accumulate. They embody a weight, a tangible representation of what we keep and what we lose. The ashes from cigarettes like “grey corpses” in an ashtray and the kitchen “where we really lived our lives”—these things anchor readers, but the most powerful image in the story is about how these things disintegrate, about the inexplicable contradictions and truths—the things we cannot hold, but which are the foundations upon which we build our lives.
The Underneath
In those first two sentences, I’m reminded of words that I never use, the kind of word that lingers in the recesses of my reading brain: sibilant and susurration. Hissy words that conjure up images and sounds of the sea, language that makes a mist. The meaning, the theme-building, the story—it all matters, and then sound and sense too.
The language that MacLeod uses at the beginning of the story is echoed in the final paragraphs: from word use (‘darkened’ and ‘darkness’, for instance, or ‘foolish’ and ‘silly’) to structure (say, other parallel constructions and contradictions, like flat and rolling or constant and untrue). The phrase and the sentences, the paragraphs and the page: the entire story follows the movement of the tides and the broader cyclical pattern of death and rebirth.
It matters that MacLeod chooses not to title the work for the sea; he titles the story for the structure in which key characters experience the sea, most often and most intimately. The title also reverberates on another frequency, one that readers feel only in the final paragraphs—because how and where we sail and everything about the sea is different after the ending. “I say this now as if I knew it all then,” our narrator says, at the beginning of the story, because he has already lived the ending that readers have not yet witnessed.
Every aspect of the story contains both water and vessel. When it comes to describing the clutter of footwear, against the southern wall of the family home, it’s not about the colours or the expense, but the fact that it’s mostly made of rubber. The characters look out of windows that have views of the sea (or don’t). It’s fun to play with the idea of the home being the boat, the kitchen being the cabin.
The metaphors in the story, even the concrete objects, are still thematically linked to the watery and philosophical rhythms that buoy “The Boat”. The references to the brass bracelets that his father wore to prevent chafing on his wrists from the fishing garb? They are single bands of metal encircling a man’s wrists, and should those circles be linked together, they would become a chain.
“The Boat” is called the “Jenny Lynn”, and it is named as part of a “chain of tradition”. This tradition is evident even visually in the story’s narrator, who observes that he follows in the footsteps of the men who came before him—he who tanned dark and brown in the “manner of my uncles”.
But the six other children in this story are not linked to the sea in the same way that the youngest, the son who is our tale-teller, is bound. And the story is as much about how we loose ourselves and lose ourselves (the girls do feature prominently in the story, as does their mother) as it is about how we are discovered and how we discover ourselves.
There is a lot to consider about tradition and how the brine of our childhoods alters us profoundly and enduringly. And this is a story one could reread many times in a quest to understand that: some times feeling as though all the wisdom in the world exists in this story, other times feeling like reading it a hundred times would leave you afogged.
For the better part of two years, I am rereading Alistair MacLeod’s short stories, from start to stop, just as I’ve done with Alice Munro’s and Mavis Gallant’s short stories previously. If you love short stories or if you would like to be a short-story lover, several of these authors’ stories are among my favourites, and would make an excellent introduction to the finest of the form. If you have other favourite story writers, please feel free to contribute those to the conversation too.
For almost four years i read along with Buried in Print through The Short Stories of Mavis Gallant. I was able to read and post on about half of her two hundred or so stories. It was a great Reading Life experience which also gave me a sense of accomplishment. Plus it was a lot of fun to folllow along with Buried in Print. Now we begin a new read along on a writer new to me, Alistair MacLeod.
Alastair MacLeod
July 26, 1936 – North Battleford, Canada
April 20, 2014 – Windsor, Canada
Like much of his work “The Boat” is set in the rugged Cape Breton area. It is a very sad story, close to pain. It centers on a family of nine. They are Six daughters, a son the narrator and at fifteen youngest child, the wife and mother, and her husband. He supports the family through fishing from his boat. He likes reading everything from detective stories to Dickens and Hardy. His wife says reading is a waste of time. He has his own room and it looks like intimate relations ended years ago.
The story is very much about how the family’s life is shaped by tradition. The wife has contempt for tourists, anyone not “our people”. Their six daughters have no interest in becoming the wives of fishermen, they read
In the large book collection of their father. When they marry men from New York City, Toronto or Boston they send him books. The mother has contempt for her son in laws as not our kind.
Only the son stays loyal. The ending is tragic.
Something deep is being said about the love of reading in this story.
And also the hatred of reading.
Thanks, kindly, for including your full post here, Mel: here’s a link to your page, so that others with robust internet browsing packages can follow through to your site, if they so choose. I’ll reply there too!
I love the way you took apart those two sentences and found so much meaning packed into them. I’ve never read Alistair MacLeod before, but I want to now. Maybe I’ll join in for some of these reviews over the next couple of years 🙂
He really is remarkable. I checked on the Borges volume at the library again last night; there’s still a small list of holds. But I’m not giving up. I also found a couple of non-fiction volumes (including one called On Writing) that I didn’t know about (or, remember), but there’s only a single copy of each of those two (and the same number of holds…probably the same people LOL).
I love writer’s writers! Even though I’m not a writer myself, I love that kind of writing, I find it so impressive b/c I could never do it, no matter how hard I tried.
So you like the idea of them, but more the fact that they exist than that you enjoy reading them? 🙂 I’m thinking of writers like Stephen Price and Meira Cook…they fit my idea of writers’ writers…but they just weren’t your cuppa tea as a reader?
No I like reading them because i’m so in awe of what they do-I hate reading my own writing, it’s so cringey
Well, if you take Malcolm Gladwell’s concert seriously, you’ve only got to accumulate 10,000 hours of working at it! 🙂
After reading your review of The Boat, I went back and read the passages I used in mine and saw how everything relates to the sea. In the passage about how the father’s room is messy with books everywhere, they spill from the walls (like water) and grow up from the floor (like sea plants). And there is an “unknowable cave” beneath the bed! light bulb turns on 🙂
Link to my review from 2017: https://consumedbyink.ca/2017/11/01/the-boat-a-short-story-by-alistair-macleod-1968club/
P.S. The Boat is my most popular post – I’m guessing because of students reading it for school. It’ll be interesting to see if it becomes yours…
Thanks for including the link to your post; of course I had remembered it, because we’ve chatted about reading through AM a few times, and I’d meant to add it myself but, then, I got caught up in creating the template for the series of posts and suddenly it was the 30th.
Yes! Yes! Isn’t that amazing? But one needn’t see it like that to enjoy the story from another direction. Love that. I didn’t think of the house as a boat on my first reading, not even my second (this is one of the stories I’ve read most often, partly because it’s the opener in this omnibus), but now it seems impossible not to have seen it that way.
Also…the books in this story. And surely he knew of the Emily Dickinson “There is no frigate like a book” (I never remember lines of poetry but this one is also a children’s book!) so maybe there is probably another layer to the boat too. When is a boat really a book? 🙂
I love the bookishness of this story… You wouldn’t think a story about the sea and men who work on the sea would be so bookish. It makes me wonder if its somewhat autobiographical…
I’m so glad you’re reading through these stories – I will be able to get more out of them with you reading along with me! (Or with me reading along with you?)
I’m impressed. That’s a very profound way to get into a story and into a writer. I didn’t really understand what you were doing with Mavis Gallant, that is, I came in late. But I’m looking forward to this series. If you’ll forgive me for saying so – for me, because I haven’t read him, it will be like learning about someone through their autopsy. Yes I know, I should just go and meet the person, but so much to do etc. etc.
Hahaha. First, I think that’s the first time the word ‘autopsy’ has appeared here in a comment, so thank you for that. And I’m pleased to hear that you anticipate enjoying the ride from the side-car. There was a poet who used to write very granularly about poems (that I didn’t know, written by poets I didn’t recognize) every couple of weeks and I absolutely loved the intricacies in her posts, and was amazed by what she saw there, but I’m never sure how much detail other people find interesting, especially with forms that not everyone enjoys (like short stories ahem).