Alice Munro
COVERS
Why Alice Munro’s Biographer Left Her Daughter’s Abuse Out of His Book
AST JULY, the Toronto Star published Andrea Robin Skinner’s account of her sexual abuse, as a child, by Alice Munro’s husband, Gerald Fremlin—abuse that Munro, her mother, ultimately chose to overlook in her decision to stay with Fremlin. In the days and weeks after that revelation, one other name was added to the ledger of people who had betrayed Skinner: Robert Thacker.
IN HIGH SCHOOL ENGLISH CLASS, I saw no connection between literature and nation. An author’s place of origin was a trifling bit of biography that rarely seemed relevant to their work: This is Will, he writes plays, his story’s set in Denmark, but he’s from England; this is Margaret, she writes about the horrors of the feminine experience, her novel’s set in dystopian New England, but she’s from Canada. Here’s another Will, who also hails from England. He has a book about a bunch of boys trying to kill one another on an unnamed island in the Pacific. And finally, Franz, from Prague. He writes about the nightmares of bureaucracy, and his fiction isn’t really set anywhere at all.
Alice Munro |
To consider “Home,” I return to Munro’s “Foreword.”
I put myself in the center and wrote about that self, as searchingly as I could.
Although this story is about her father, it is also, or really, about a daughter’s acceptance of a new reality regarding her father and regarding herself.
The daughter is living in the east now, about a hundred miles from her father. Unlike the past, when years could pass before she returned home, she now visits every few months or so. She takes a series of busses. The time it takes to get “home” is emblematic of reality. Things have changed so much that it takes real time to catch up to all the changes that make up her father’s home now. So, the beginning of the story sets us up for that – for the time it takes for a person to reach a destination, especially if the person is looking for the truth or looking to go “home.”
The scenes that begin and end the story both address the issue of time. But it is the story’s the ending that tells us we have finally arrived at the story’s original destination.
The last scene is a memory, one that she says is her first memory. She’s three or four and she’s out in the barn with her father, who is milking a cow. It’s dark. It’s cold. The milk hitting the pail sounds like “tiny hailstones.” This is the cow that will die of pneumonia the following year.
Alice Munro |
“Hired Girl”
In “Hired Girl” we see the casual contempt that people often have for their hired help. Alice is maybe seventeen and has been hired to do housework at the big summer cottage on a private island at Pointe au Baril.
The entire story concerns itself with how Alice reacts to being classed as lower than the people she works for, or, even, invisible. Several times she naively doesn’t realize that she is not an equal, that she doesn’t eat lunch with them, that she eats in the other room, that she is the one being talked about when her employer says:
So you just make allowances . . . . You do the best with them you can.
This story covers familiar ground to me. My West Virginia grandmother was a hired girl to an oil widow in the next town and learned some fancy ways that may have not been good for her in the end. But just like Munro says, everybody had hired girls in those days. My grandmother had hired girls herself when she had small children. It wasn’t that my grandparents had money — they didn’t — it was: what were families going to do when their daughters finished eighth grade? The girls were too old to hang around the house and too young to get married. So they were traded up and down the country side.
I was several times a baby-sitter for families whose means were spectacular. And yet, like Alice, I sometimes had trouble knowing my place. After all, I thought myself their equal or better, given how I did in school and what my ambitions were.
Alice Munro |
“The Beggar Maid”
by Alice Munro
Trevor
In the United States, “The Beggar Maid,” the sad story in which Rose goes to college and meets and courts, and then marries and divorces the wealthy Patrick, had its title taken to represent the book of linked stories as a whole. Outside of the United States, though, this book is not called The Beggar Maid; rather, the book takes its title from the final story: Who Do You Think You Are? At this point in the book, about halfway through, I think it makes sense to stop and look at each title as they work with this particular story and then with the book as a whole.
Alice Munro, 1979 |