“you give a dog a bad name, and that dog is bad for life.”
——Eleanor Catton The Luminaries
Dogs are dogs but names do matter. I won’t take time, though, to speculate on how the naming of a child can influence his life, because I know for sure that the names we gave our children were exactly right, because they came so easily. But naming stories and books does not come easily for me. In fact, I’ve been known to put proposed titles out to committee, or to at least one other person who knows the work I’m struggling to name, and whose own titles are inspiring.
Stories have never been as difficult as books, because the very size of them makes it easier to find the phrase, the key word, the idea that set the story in my motion. In all of the books on writing I’ve read and used in my teaching, the only one I’ve found that discusses titles and does so with clarity and wise advice is Fred Stenson’s The Craft of Fiction, Thing feigned or imagined. And I go back to that book frequently, and refer other writers to it frequently as well.
Occasionally, a story or even a novel has its conception in the title, and there is nothing an editor can say to convince me that this “working title” should not be the one that graces the cover of the book, or the entry into the story. One story in particular in my short story collection, A Crack in the Wall, landed feet first in my mind as “The Way She Ate Oranges.” And so too did “A Crack in the Wall” which became the title of the collection because it worked as subtext in all of the sixteen stories. Other titles in the collection benefited from the fine eye of Dave Margoshes, with whom I worked on the final editing and the ordering of the stories. Who can argue with a man who has titled some of his own books such intriguing titles: Pornography and Other Stories; A Book of Great Worth; God Telling a Joke. Each of these are also titles of stories within the collections, but as titles for the books, arresting and maybe just a bit audacious.
It was Dave to whom I whined about not being able to find a title that would do my first novel justice. This was a book about a boy caught up in the child welfare system, a boy who was a chronic runaway. My several suggestions included “Running” (dismissed as having the potential to end up on health and fitness sections shelves in bookstores) and several others that Dave decreed all sounded like “lyrics from a bad Bob Dylan song.” Then he asked the critical questions, the same question that Corey claimed he couldn’t answer. Why does this boy keep running away? Back to my social work years and the familiar wisdom that a child is either running away from something or toward something. How obvious —Running Toward Home.
The Boy began with that working title and I never lost sight of it, nor did I even consider casting about for alternatives. Fortunately, Oolichan Books never questioned it either, nor did they question the title of A Crack in the Wall, or Delivery.
Delivery ran through a number of working titles; one of the worst, or so proclaimed my thesis advisor, Catherine Bush, whose wince when I suggested it said all, was “Alone With a Baby.” Well, yes. It did have different connotations as the story progressed, but even while I was considering, I knew it had a pathetic ring that I did not want to prevail. Credit for the title, Delivery, goes to Catherine. Without her wise advice, I shudder to think of the yoke I might have lain on the shoulders of Lynn and BeeGee, the baby who is the heart of this story.
I had no intention of letting these thoughts on naming lead to the promotion of Delivery but because it is the only one of my books that has not been unabashedly dragged out of those doldrums where the sails of a boat droop after the first season, why not?
Delivery, like other of my stories comes from my earlier life as a social worker, and in particular the involvement I’ve had in adoptions. In this story, though, I chose a perspective other than that of the social worker. Several years ago, when I was working for a private adoption agency, my colleague was interviewing a young woman who was considering an adoption plan. The young woman’s mother who was waiting outside that closed door looked as though she was trying desperately hard to hold back tears. I sat down beside her and after a bit of casual chatting, asked her what support she would have should her daughter make the decision to place the baby with an adoptive family. She looked at me as though I was daft. “There isn’t anyone who can support me enough to make me believe this is the right choice.” Then she turned in her chair and stared straight into my eyes and said, “What would you do if your daughter decided to give away your grandchild?” I didn’t dare to say the words, but I nodded and nodded, and I think she knew that I would grab the baby and run.
That, in essence, is what happens in Delivery. This is the story of a grandmother who, on the morning of the day her daughter will “deliver” a beautiful baby girl to a family who are, despite a few visits, strangers, packs the baby in a laundry basket, straps her into the back of her car, and heads for the hills. In this case, those hills are mountains and Lynn’s destination is a small island on the west coast.
Comment from one of the jurors for the Alberta Book Awards George Bugnet prize for fiction in which Delivery was a finalist: “Domestic dysfunction never had it so good. This novel lactates with life.”
As an aside to this quote, I had the pleasure of visiting a book club comprised of the staff at a Starbucks where the average age of the readers was probably about 23. A young man, who said he was surprised by how much he liked the book and surprised too because he’d “never read anything where there was so much breast and breast milk in …” Here he seemed stumped, so I offered, “In a non-sexual context.” “Exactly!”
Why you should read this book? Because it lactates with life!