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This is the book about one of the world’s great authors, Alice Munro, which shows how her life and her stories intertwine.
For almost thirty years Robert Thacker has been researching this book, steeping himself in Alice Munro’s life and work, working with her co-operation to make it complete. The result is a feast of information for Alice Munro’s admirers everywhere.
By following “the parallel tracks” of Alice Munro’s life and Alice Munro’s texts, he gives a thorough and revealing account of both her life and work. “There is always a starting point in reality,” she once said of her stories, and this book reveals just how often her stories spring from her life.
The book is chronological, starting with her pioneer ancestors, but with special attention paid to her parents and to her early days growing up poor in Wingham. Then all of her life stages — the marriage to Jim Munro, the move to Vancouver, then to Victoria to start the bookstore, the three daughters, the divorce, the return to Huron County, and the new life with Gerry Fremlin — leading to the triumphs as, story by story, book by book, she gains fame around the world, until rumours of a Nobel Prize circulate . . .
From the Hardcover edition.
- Sales Rank: #1821985 in Books
- Brand: Brand: Emblem Editions
- Published on: 2011-05-03
- Released on: 2011-05-03
- Original language: English
- Number of items: 1
- Dimensions: 9.01" h x 1.43" w x 6.15" l, 1.76 pounds
- Binding: Paperback
- 696 pages
- Used Book in Good Condition
Review
How the world sees Alice Munro (and Runaway):
“Alice Munro has a strong claim to being the best fiction writer now working in North America.”
—Jonathan Franzen, The New York Times Book Review
“Cynthia Ozick has said of Munro, that she is our Chekhov. But . . . she is our Flaubert, too. We couldn’t ask for more.”
—Claire Messud, Globe and Mail
“Alice Munro has devoted her career to the short story, and when reading her work it is difficult to remember why the novel was ever invented.”
—The Times (U.K.)
From the Hardcover edition.
About the Author
Robert Thacker wrote his M.A. thesis at Waterloo on Alice Munro way back in 1976. Now the professor of Canadian Studies and English at St. Lawrence University, he was for many years the editor of The American Review of Canadian Studies, and is recognized as the academic authority on Alice Munro.
From the Hardcover edition.
Excerpt. © Reprinted by permission. All rights reserved.
Recalling her university years, Munro says that she loved her time there, “being in that atmosphere, having all those books, not having to do any housework. Those are the only two years of my life without housework.” Not that she has greatly minded such work, either before university or after, but those two years at Western stand singular in her memory: “to have that concentration of your life, that something else was the thing you got up in the morning to do, and it was all reading and writing, studying.” Munro enrolled initially in the journalism program as something of a cover, so that she would not have to say that she wrote fiction — though, given the contributor note in the April 1950 Folio that has her major as Honours English “with an emphasis on creative writing,” it was not much of a cover. The journalism program required English, and that first year Munro also took English history (which she says she already knew backwards), economics, French conversation, and psychology. Those enrolled in programs like journalism — that is, with some sort of applied focus — were put in the same sections of these courses and were seated alphabetically. Thus Alice Laidlaw met Diane Lane — a first-year pre-business student from Amherstburg — who became a friend and roommate.
Both students had come from small towns, neither had much money (though Laidlaw was the more strapped), and each, initially, roomed with someone she knew from home. During that first year, each found that she was not enjoying the association with her original roommate. So the two took to spending time together at the public library, where Munro had a part-time job two or three afternoons a week sorting and reshelving books (as she also did at the Lawson library on campus on Saturday afternoons). Eventually, Munro moved into the same rooming house as Lane — the upstairs of a house belonging to Mr. and Mrs. Charlie Buck at 1081 Richmond Street — where she lived through her second year. Mr. Buck’s brother Tim was the leader of the Communist Party of Canada and had been in jail. The Bucks “rented the entire upstairs of their house, and it was a place where vaguely intellectual non-sorority-type girls lived.” Munro recalls that “we were all fairly poor, and we all cooked these messes we made on hotplates.” Socially, at the time, she remembers, “Western was fraternity, sorority. Not too serious.” That second year was “interesting, but fun, because I was then with people at University who were more or less like me.” Munro captures some of this in an unpublished draft story called “The Art of Fiction,” which draws on her time at Western. The narrator writes, “During my university years I lived in a house which was not really very big and which sheltered seven other girls, a landlady who wove her own skirts and belonged to a Bell Ringers Society, and a periodically confined lovesick Siamese cat.”
During their first year, both young women took the same English 20 — a survey of British literature — class from Robert Lawrence and, through him, they came to the attention of the English department. Just as in high school, Munro made her mark by what she wrote: as a student she did not have much to say in class, but Lawrence read “The Dimensions of a Shadow,” a story she wrote that became her first publication. The English department was seeking students for its honours program, and both Laidlaw and Lane were successfully recruited. Munro recalls that some time during that first year she was approached by Professor Murdo MacKinnon about switching to English. By that time, she remembers, she had “run afoul of economics” so she asked him if she would have to take more economics. No, he replied, she would need only to pick up the Latin she had missed that first year. So she shifted to English for her second year. That year she took aesthetics from Carl Klinck, eighteenth-century British literature from Brandon Conron, a course in drama from Eric Atkinson (“the best course I took”), French poetry, Greek literature and translation, and another course in English history “from a dreadful man” who “read from notes.” Although Munro says she spent about half of her time at Western writing, she did very well in her courses — apart from economics. At the end of her second year, she won a prize for the highest marks in English.
During her first year at Western, Alice Laidlaw was sitting across from another student in the Lawson library. He was eating some candy, a piece of which he accidentally dropped on the floor. This young man had had his eye on Laidlaw and, looking at the candy on the floor as he was wondering what to do, he heard her say, “I’ll eat it.” Thus Alice Ann Laidlaw met James Armstrong Munro. Jim Munro was from Oakville, the eldest son of Arthur Melville Munro, a senior accountant at the Timothy Eaton company in Toronto, and his wife, Margaret Armstrong Munro. Just under two years older than Alice, Jim was in his second year studying Honours History when he met her. Growing up in Oakville and through high school, he was interested in the arts; he listened to opera and classical music, took art classes, and acted in plays. Jim had seen Alice around the university and had noticed her, but did not know anything about her; he did not know that she was a writer until, when he asked around about her, he was told that Alice Laidlaw “was Folio’s new find.” Recalling himself then, Jim Munro says he was “full of poetry and romantic notions” — he remembers then being under the influence of a book, The Broad Highway by Jeffrey Farnol, about a young man who falls for a high-spirited girl. He mirrored the story when he met Alice Laidlaw — “I really fell hard for her.”
Describing Alice Laidlaw when she was a student at Western, Doug Spettigue, a classmate, recalls that “she was shy and small and had a very white face, freckle-sprinkled, and chestnut hair. . . . You thought you could stare right through those quiet eyes and the girl would disappear. But she didn’t. There was an unexpected strength there, and even then a confidence that some of the rest of us, noisier, may have envied.”
From the Hardcover edition.
Most helpful customer reviews
11 of 11 people found the following review helpful.
I was a little disappointed
By Reader in NYC
As the previous reviewer points out, the treatment of Munro's life here is shallow. But I think the point of a biography is to reveal something about the real life of the public figure. There is nothing intimate or even especially human about this book. The better part of it seems devoted to recording all the praise Munro has ever received by editors, reviewers, etc. No one would buy a $40, 616-page book about Alice Munro if not already convinced that she is an extraordinary writer. I didn't feel I needed to read every scrap of adulation ever accorded to her. I wanted details about her life, her writing process, maybe an in-depth discussion of different stories. She's written tirelessly about adultery, tortured love affairs, estranged daughters. I was hoping for something specific or in-depth about how these themes have informed her own life. Again, that doesn't seem unreasonable for a biography. I'm not saying Thacker was wrong to resist visiting these places, especially as he is so star-struck and respectful of his still-living subject. But I am saying that this book was just too safe and careful to be interesting.
3 of 3 people found the following review helpful.
For the already interested
By Lawrence Siskind
Fascinating for the already initiated, for awhile. It includes as much as you're likely to want to know about the background and details of Munro's actual life, personality and her relationship to her work. You're not likely to enjoy the numerous passages reviewing her reviews of the books of stories you better have already read if you're going to bother with this tome.
2 of 3 people found the following review helpful.
Thacker's artistry
By Ulrica Hume
It's true that there's nothing salacious about this book. Also that, at 600+ pages, it's the weight of a brick. Yet I obsessively read it. Robert Thacker writes well. I found myself wondering who he is. I know that he has "followed" Alice Munro for thirty-five years, because it says so in his bio. It's strange to devout one's life to gathering the (often dry) details of another's, but he has done just that. Thank God he doesn't attempt to explain her stories, rather he fixes them (sometimes ploddingly) to her past. If you can get through Part One: Ancestors, Parents, Home, you'll likely feel quite dizzy as a result. Learning the branches of her family tree is both fascinating and tiresome.
That said, this scholarly work is something I cherish for the perspective it does give. It tells no more than I need to know, for to know too much might destroy the mystery. It tells enough. We learn that Alice Munro struggled, paid attention, was reasonably kind, and that throughout she was true to herself. Oh, and she wrote, since of course that is what a writer does. I don't know if she ever made grape jelly, nor do I particularly want to.
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