Last night I went to a reading given by Douglas Coupland during which he read passages from his new novel, Eleanor Rigby, and also previewed a lengthy passage from a work-in-progress. Flying on codeine (Coupland, not me), he shot off on various random tangents that, in the end, were twice as entertaining as the readings themselves.
Instructed in piano at a young age, Coupland recently decided to give himself a refresher so that he could impress and astound his family with a note-perfect rendition of that Charlie Brown Christmas Piano Thing (which probably has a simpler title than that). Unfortunately the task proved to be more physically traumatic than expected and his left hand went into painful spasms. Hence the codeine, which incidentally Coupland now swears by and highly recommends for recreational use.
I should mention up front that I’m not actually an ardent Coupland reader. In fact, I’ve only read one of his novels (Miss Wyoming). I recall enjoying it thoroughly, but I must also confess that I don’t remember a thing about it. Other than the pleasurable experience of reading it. Otherwise, sorry – complete mental block. However I will say that he’s a tremendously engaging speaker – quick-witted, completely engaged with his audience, and with a dry, understated, almost deadpan delivery.
Eleanor Rigby is indeed the story of one of the lonely people – Liz Dunn. Coupland spoke of the manner in which he describes his characters and his settings. How, in some works, he deliberately avoids over-describing things, leaving the reader to project his own image of a certain protagonist, or of a certain room. Other times, as Liz Dunn herself states, there should be no confusion as to the detail. So, here, the facts are laid out: her age, her overweight awkwardness. These details are necessary in setting the character. They affect her frame of mind. They affect her loneliness.
As for Coupland’s work-in-progress, it will be a sequel to Microserfs entitled jPod. Allusions to the ubiquitous iPod aside, jPod is actually the name of a corner of an office housing 6 employees whose last names begin with a J. Coupland says that this novel will essentially be about “corporate intrusion into private memory.” Heady stuff. But the passage he read came off a bit light-weight and a bit forced. It was a scene in which the 6 employees discuss McDonald’s, and in particular Ronald McDonald, and in particular Ronald McDonald’s sex-life. They decide that they should each compose and read to the group a “love letter” to Ronald. Then we hear the letters, and they were amusing to a point, and I suppose they do reveal a bit about the individual characters, and the passage seemed to go off well with the audience. But the whole thing came off a bit jokey. And once the whole unusual premise was set, even a bit obvious.
His random tangents, however, were truly memorable, as much for their delivery as for their content. How, for instance he suffers from what he calls “executive dysfunction” rendering him inexplicably yet completely incapable of performing such simple tasks as opening an envelope. Until, that is, a doctor-friend suggested doing these impossible tasks at half-speed. Which apparently works. And also how he and his 78-year old father, with whom he has nothing in common, have recently and surprisingly bonded over their mutual affinity for a reality show called The Swan.
Whether or not I pick up the new or the next Douglas Coupland book remains a bit of a question mark. What is certain is that if he does another reading in town, codeine or no codeine, I’ll be there. And I’ll be the one listening intently for the random tangents.
